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WANTED: director to adapt blood-splattered pages of popular comic books into summer vehicle for Angelina Jolie's tattoos. Must love CGI, the color red, and slo-mo. No experience necessary.
Wesley Gibson (McAvoy) trades his corporate life for the comic book one and a chance to really live (by making others die). Only then may he discover who he is (a natural born killer; runs in the family) and avenge his father's death. Drafted into a secret society of assassins that once included dad and now includes Fox (Jolie) and Sloan (Freeman), Wesley uncovers his hidden gifts (they're genetic), quickly learning how to punch, slice, and “bend” bullets. The relentless plot puts his new skill set to use in a series of bloody assignments, and Wesley takes to killing with glee he never had back in the cubicle. Before long he's bending bullets through brains like Beckham on a bender. But all is not what it seems at the secret society, and Wesley goes rogue, but not before opening up an Oedipal can of worms that would, in the real world, bring a therapy bill in the big digits.
McAvoy's corporate drone-cum-killer smacks the screen like Ed Norton's Fight Club consumer dweeb on crank. He and Fox flip cars off freeways, drive them into trains and then ride the trains off bridges. In this CGI Chicago, anything is possible and nothing is exceptional. After a while you run out of "whoa."
Opens June 27
Wesley Gibson (McAvoy) trades his corporate life for the comic book one and a chance to really live (by making others die). Only then may he discover who he is (a natural born killer; runs in the family) and avenge his father's death. Drafted into a secret society of assassins that once included dad and now includes Fox (Jolie) and Sloan (Freeman), Wesley uncovers his hidden gifts (they're genetic), quickly learning how to punch, slice, and “bend” bullets. The relentless plot puts his new skill set to use in a series of bloody assignments, and Wesley takes to killing with glee he never had back in the cubicle. Before long he's bending bullets through brains like Beckham on a bender. But all is not what it seems at the secret society, and Wesley goes rogue, but not before opening up an Oedipal can of worms that would, in the real world, bring a therapy bill in the big digits.
McAvoy's corporate drone-cum-killer smacks the screen like Ed Norton's Fight Club consumer dweeb on crank. He and Fox flip cars off freeways, drive them into trains and then ride the trains off bridges. In this CGI Chicago, anything is possible and nothing is exceptional. After a while you run out of "whoa."
Opens June 27
