If the Fast and the Furious had a baby with the Hitman's Bodyguard had a baby, this comedy-caper would be the result. Ryan Reynolds is the world's most famous art-thief, or at least he was until he was sold out by a competitor in a race to assemble three golden artifacts for a wealthy billionaire. What follows is a bro-oad-trip as Dwayne Johnson and Ryan Reynolds banter their way through a humiliating contest against the alluring Gal Gadot.
Where Red Notice shines is not in originality, nor is it in brilliant writing, but in its comical contempt for taking anything seriously. Ryan Reynold's signature wit and comedy riffs break the fourth wall with frequency, including looking for a crate labelled Mcguffin while in an underground Nazi vault. Dwayne Johnson recycles the same character he plays in Jumanji, Jungle Cruise and pretty well every other movie he's been in, while Gal shows a little bit of her creepy side when torturing a prisoner but is never quite convincing in her relationships - one of which feels downright awkward.
The production values are a mixed bag with some prominently poor green screen, and the script had the feel of being so painfully written that the actors started to adlib their own lines to improve it. This plays to that strength of goofy comedy that doesn't require much thought while hedging itself in between several sequences of action and pretentious explosions.
Altogether, its goofiness will attract some, and deter others. For the family audience, frequent swearing and sexualized language push this up to a teen audience even if the sexual content is limited.
Where Red Notice shines is not in originality, nor is it in brilliant writing, but in its comical contempt for taking anything seriously. Ryan Reynold's signature wit and comedy riffs break the fourth wall with frequency, including looking for a crate labelled Mcguffin while in an underground Nazi vault. Dwayne Johnson recycles the same character he plays in Jumanji, Jungle Cruise and pretty well every other movie he's been in, while Gal shows a little bit of her creepy side when torturing a prisoner but is never quite convincing in her relationships - one of which feels downright awkward.
The production values are a mixed bag with some prominently poor green screen, and the script had the feel of being so painfully written that the actors started to adlib their own lines to improve it. This plays to that strength of goofy comedy that doesn't require much thought while hedging itself in between several sequences of action and pretentious explosions.
Altogether, its goofiness will attract some, and deter others. For the family audience, frequent swearing and sexualized language push this up to a teen audience even if the sexual content is limited.
