Jack Ryan: Teorija chaosa
Ohjaus:
Kenneth BranaghKuvaus:
Haris ZambarloukosSävellys:
Patrick DoyleNäyttelijät:
Chris Pine, Keira Knightley, Kevin Costner, Kenneth Branagh, Colm Feore, Nonso Anozie, Aleksandar Aleksiev, David Paymer, Lee Asquith-Coe, Gemma Chan (lisää)Suoratoistopalvelut (5)
Juonikuvaukset(1)
Tom Clancyn luomiin romaanihahmoihin perustuvassa toimintatrillerissä Jack Ryan: Shadow Recruit Afganistanin sodan veteraani Jack Ryan (Chris Pine) rekrytoidaan CIA:n palvelukseen ja hän alkaa viettää hiljaista kaksoiselämää työskennellen peitetehtävissä Wall Streetilla. Ryan tulee kuitenkin heitetyksi suoraan toiminnan ytimeen, kun hän pääsee selville massiivisesta terrorijuonesta, joka on kehitteillä Moskovassa. Ystävilleen ja läheisilleen Ryan on kuin kuka tahansa New Yorkin finanssikeskuksen työntekijöistä, mutta todellisuudessa hänet on pestattu CIA-analyytikoksi jo vuosia sitten. Hänet otettiin mukaan tohtorintutkinnon suorittaneena älykkönä, joka hallitsee globaalit markkinat. Kun Ryan saa yllättäen selville tarkasti suunnitellun juonen, jonka tarkoituksena on kaataa Yhdysvaltojen talous ja luoda maailmanlaajuinen kaaos, hän onkin yhtäkkiä ainoa, joka voi pysäyttää terroristit. Ryanista tulee täysin operatiivinen, ja hän joutuu keskelle epäilysten, petosten ja tappajien maailmaa. Tasapainotellessaan CIA-kontaktinsa Harperin (Oscar®-voittaja Kevin Costner), täysin pimennossa pidetyn morsiamensa Cathyn (Keira Knightley) sekä mahtavan venäläisen oligarkin (Kenneth Branagh) välissä, Ryan joutuu kohtaamaan uuden todellisuuden, jossa keneenkään ei voi luottaa. Kun miljoonien ihmisten kohtalo on hänen varassaan, Ryanin on oltava koko ajan askeleen edellä muita. (Finnkino)
(lisää)Videot (15)
Arvostelut (9)
It's a shame how much effort they put into making Jack Ryan resemble his genre relatives. In close combat like Jason Bourne, in villainous plots like James Bond, and in dragging his partner into it like Ethan Hunt. But when these three parts are added up, there remains a pleasantly old-fashioned spy ride that has no problem standing on its own feet, yet never finds its own face even for a moment. And that is even more unfortunate given that Chris Pine is always fully successful in the role of the hesitant hero.
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It's not a total collapse, as is being said everywhere, but it's hard to decide who has a bigger stake in this "failure." Is it Cozad and Koepp, fulfilling the studio task of a fashion reboot of the brand, or Branagh, whose old-school efforts are slipping through his fingers, where he can capture characters and interactions in minimal space (the glimpse of Keira at dinner is a scene you'd love to direct and even more love to act out), but the thriller concept escapes him into an interchangeable genre spectacle without much ambition.
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The new Jack Ryan wants to be Ethan Hunt and Jason Bourne, but he won’t even get close to Peacemaker. This spy thriller made in 2014 does not have a single action attraction, interesting location or unexpected twist. Obviously, there should have been respect and fear of the main bad guy, when even a scene involving an attempt to hack his computer would create suspense. But it doesn’t work. It is clear to the viewer that such a cookie-cutter scenario would not dare hurt Jack’s sweetheart. For Kenneth Branagh, it was a simple and lucrative Hollywood job, where he got money for both direction and the role of the villain, and that’s all. Let’s move on.
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The new Ryan does credit to the thrillers of twenty years ago. Which might of course be hard to digest for today’s viewer. Branagh has come up with a relatively untraditional way to destroy America which makes some sense, but those who didn’t graduate in economics won’t be care. It’s maybe a shame that the action scenes are so ordinary, but all is made up for by Keira Knightly’s huge, beautiful peepers. Costner makes the most of his comeback, Pine as Ryan super cool. Rattled or heroic – he’s on top of his role.
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For an American film, Jack Ryan: Shadow Recruit is an unusually disillusioning experience. Before this new Jack Ryan, I ranked Koepp and Zaillian among today’s top screenwriters and I believed Branagh to be a very competent director of intelligent films. However, their combined effort is an example of the worst kind of sloppiness in screenwriting and directing. Though the screenplay holds together in rough outlines (the circular narrative structure, the satisfactory interconnection of the relationship and work storylines, the economical use of props), the individual scenes reveal the confounding laziness of the film’s creators in figuring out how to make a particular character do a particular thing. The number of supporting constructs that they place in front of us due to poorly thought-out situations and the obtuse behaviour of the characters grows exponentially and one long, uninterrupted facepalm is the only appropriate reaction to the final twenty minutes, when everyone suddenly displays miraculous prescience and the ability to be in the right place at the right time. With the exception of the raw hotel brawl, which keeps alive the hope that this could be a decent paranoid thriller in the vein of late Hitchcock, the action scenes are muddled and mediocre. Shifting attention from the directing and screenplay to the actors is a matter of stepping out of the frying pan and into the fire, because the characters are interchangeable and played by actors who lack charisma. The dual (or even triple?) exposition only seems to indicate that this could be the hero’s origin story. As a result, the return to the past is not used for the purpose of tracking the longer-term development of the protagonist, who doesn’t actually develop (on the contrary, Pine’s facial expression at the end is one of even greater surprise than it was at the beginning), but serves primarily to amplify the pro-American emphasis of the narrative: we must defend our territory, values and – mainly – our money. Similarly, it initially seems that Ryan will be differentiated from other action heroes by his use of intellect instead of muscle (though Pine’s acting style is absolutely incompatible with such a concept), but someone else comes up with the main and, incidentally, rather dumb infiltration action and all of the shifts in the narrative are resolved through physical force and not by means of data collection and analysis. In the end, Ryan appears to be the more intelligent character, mainly thanks to the fact that he is surrounded by idiots who are unable to plan an operation that’s not based largely on chance. Nor is the ensemble given much strength by Branagh himself, whose tenacious Russian patriot with liver spots and a light bulb would be better suited to a Cold War-era Bond movie. Those Bond films, though, didn’t lack a sense of detached humour, the utter absence of which definitively kills Jack Ryan, which itself is an offence against spy thrillers and their viewers. Because of its cheapness (not in terms of budget, but in everything else), this is a film that’s suitable only as a Movie of the Week (or whatever they call it these days) on broadcast TV. 50%
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