“The Gray Man,” a 2022 action thriller film directed by the Russo brothers, was released with significant anticipation, boasting a star-studded cast led by Ryan Gosling, Chris Evans, and Ana de Armas. The film is based on the novel of the same name by Mark Greaney, which serves as the starting point for a potential franchise. With Netflix backing the project with a reported budget of around $200 million, the movie was one of the streaming giant’s most expensive undertakings, aiming to deliver a fast-paced, espionage-driven narrative. However, despite its high-profile nature, “The Gray Man” was met with mixed reviews from critics and audiences alike, with opinions diverging on its merits and shortcomings.
The film’s premise revolves around Sierra Six (Ryan Gosling), a highly skilled CIA operative recruited from prison and assigned to carry out covert missions. Sierra Six, as his name implies, operates in the shadows, an anonymous assassin doing the dirty work of the government. The central conflict kicks off when Six discovers incriminating information about his superiors during a mission in Bangkok. This revelation sets off a deadly chase across multiple continents, as he becomes the target of Lloyd Hansen (Chris Evans), a former CIA agent turned mercenary, hired to eliminate Six and retrieve the sensitive information.
At its core, “The Gray Man” is a conventional action-thriller. It features a storyline that weaves elements of a spy film, cat-and-mouse chase, and an assassin’s quest for redemption, but it seldom breaks new ground. While the film benefits from the Russo brothers’ direction and their ability to choreograph slick, kinetic action sequences, it struggles to rise above the clichés that have become all too familiar in the genre. The plot, while serviceable, lacks the depth and emotional complexity that would have elevated the movie beyond a mere showcase of explosions and combat scenes.
One of the most striking aspects of “The Gray Man” is its international setting, with sequences taking place in cities like Bangkok, Vienna, Prague, and Berlin. The film embraces the globe-trotting nature of its story, offering the audience visually captivating backdrops for the action to unfold. These locations, paired with the polished cinematography, give the film a larger-than-life feel, allowing it to lean into its blockbuster ambitions. The action scenes, from high-stakes shootouts to intense hand-to-hand combat, are intricately choreographed, and the Russo brothers’ direction ensures that they are fast-paced and visually dynamic.
However, while the action scenes provide a level of excitement, they are not without their flaws. Some of the set pieces feel overlong, stretching plausibility, and at times, the sheer volume of destruction and chaos becomes overwhelming. There are moments when the film seems more concerned with spectacle than substance, with the action overshadowing any attempt at character development or narrative progression. This imbalance can make the movie feel like a series of elaborate stunts stitched together, rather than a cohesive story with emotional stakes.
The cast is perhaps the film’s greatest asset. Ryan Gosling delivers a performance that aligns with his established on-screen persona—stoic, introspective, and emotionally guarded. As Sierra Six, Gosling brings a sense of quiet intensity to the role, playing a man of few words but significant action. His character is defined by his past traumas and his struggle to reconcile his role as a government assassin with his own moral compass. However, while Gosling’s performance is solid, it feels restrained, and his character lacks the depth needed to make the audience fully invested in his journey. Six’s motivations are not explored in a way that would allow for a deeper understanding of his internal conflict, which ultimately weakens the emotional core of the film.
On the other hand, Chris Evans stands out as Lloyd Hansen, the psychopathic antagonist hunting Six. Evans fully embraces the role, delivering an over-the-top performance that contrasts sharply with Gosling’s subdued portrayal of Six. With his snarky one-liners, flamboyant demeanor, and complete disregard for human life, Hansen is a villain designed to be hated, but Evans’ charisma makes him entertaining to watch. The dynamic between Gosling and Evans is one of the film’s high points, with their contrasting styles of acting creating a compelling, if not particularly nuanced, hero-villain dynamic. However, much like the rest of the film, Evans’ character is somewhat one-dimensional, leaning heavily into the archetype of the unhinged villain with little motivation beyond chaos for its own sake.
Ana de Armas, as CIA operative Dani Miranda, brings energy and capability to the role, but her character is underutilized. Despite having a key role in helping Six evade capture, she is often relegated to the background, with her character development receiving little attention. De Armas does her best with the material she’s given, but it’s disappointing to see a character with potential sidelined in favor of the male leads. In many ways, her character feels like a missed opportunity, emblematic of the broader issues with the film’s writing.
The supporting cast includes actors like Billy Bob Thornton, as Six’s mentor Donald Fitzroy, and Alfre Woodard as retired CIA operative Margaret Cahill, both of whom deliver competent performances but are given limited screen time. These veteran actors bring gravitas to their roles, but their characters are ultimately little more than plot devices, moving the story forward without leaving a lasting impression. The film also features Jessica Henwick as Suzanne Brewer, another CIA operative, though her character too is overshadowed by the central conflict between Six and Hansen.
Thematically, “The Gray Man” touches on familiar ground within the spy and action genres—loyalty, betrayal, and the moral ambiguity of government-sanctioned violence. The film tries to explore the idea of what it means to be a tool of the state, devoid of identity and purpose beyond following orders. Sierra Six’s journey is one of self-discovery, as he grapples with the weight of his actions and seeks to break free from the cycle of violence that defines his life. However, these themes are handled in a superficial manner, with the film rarely pausing long enough to engage in any meaningful exploration of its ideas. The emphasis on action over introspection leaves the movie feeling somewhat hollow, missing the opportunity to delve into the more complex moral questions that could have set it apart from other action films.
Despite its shortcomings, “The Gray Man” is undeniably entertaining, especially for fans of the action genre. The film moves at a relentless pace, with barely a moment of downtime between its set pieces. The choreography, visual effects, and international locations give it the polish of a big-budget blockbuster, and the cast’s performances, particularly Evans’ scene-stealing turn as the villain, provide enough charisma to keep the audience engaged. For viewers seeking a fun, fast-paced thriller, “The Gray Man” delivers, even if it lacks the narrative depth and innovation that could have made it a standout.
Ultimately, “The Gray Man” feels like a film designed to launch a franchise, more concerned with setting up future installments than telling a fully realized story. The film’s ending leaves the door wide open for sequels, and it’s clear that Netflix sees potential in expanding this world. However, whether this franchise will have the staying power of other action series remains to be seen. For now, “The Gray Man” serves as a slick, entertaining, but ultimately forgettable entry in the genre, one that will likely appeal to fans of the Russo brothers’ previous work in the Marvel Cinematic Universe but may struggle to leave a lasting impact beyond its impressive action sequences.
