Who doesn’t love to see stars with great chemistry reunite? Sure, it’s kind of the same to see them star in a sequel or franchise again, but what I’m talking about in particular is seeing them take on new roles together. There’s no denying that pairs like Christian Bale and Gary Oldman made a dynamic Batman and Commissioner Gordon. Christopher Nolan masterfully wove a tapestry of exceptional arcs that grew with those characters: from the first time we saw a rookie Gordon with a grieving and terrified Bruce Wayne, all the way up to the funeral scene in The Dark Knight Rises. Pairings like Oldman and Bale feel oversaturated in today’s franchised market. It’s rare to find that special chemistry that can transcend films and that aren't exclusively one blockbuster after another.
Honestly speaking, Drew Barrymore and Adam Sandler are a great example of this. Having worked together a total of three different times, with possibly a fourth in the works - they have proven that true chemistry can work in multiple settings like an 80s love story in The Wedding Singer and a hopeless romantic in 50 First Dates. Even prior to these two, Tom Hanks and Meg Ryan were another solid example, having worked together on Joe vs the Volcano, Sleepless in Seattle, and more. Sometimes, a good love story can be told through the same people with multiple genres, if the chemistry is strong enough.
The pairing that I’ve personally been longing to see reunite is Salma Hayek and Antonio Banderas. Earlier this year, we covered a plethora of Robert Rodriguez films; one of which was the epic gunfighter neo-Western, Desperado, which just happened to unite the two actors for the first time. They would reunite in 2003’s Once Upon a Time in Mexico. They are back again, though now on opposite sides, in the sequel to 2017’s The Hitman’s Bodyguard. Hitman’s Wife’s Bodyguard picks up where its 2017 counterpart left off, this time with Ryan Reynolds and Samuel L. Jackson joined by Hayek in order to stop the total destruction of Europe by Banderas. Banderas feels like a massive step up from the antagonist of the first film in Gary Oldman.
Though Banderas does fall under the same tropes as Oldman, he feels like a legitimate threat to our protagonists. Banderas has limited screen time and it is used wisely. The grand finale between heroes and villain is among one of the film’s biggest highlights. Perhaps equally delightful is the glorified cameo of Morgan Freeman - Freeman has even less screen time than Banderas but makes an impact by providing some of the funniest moments of the film. The comedy of the Hitman’s Wife feels more natural than its predecessor. The original 2017 outing felt like it was trying to capitalize on Reynolds’ Deadpool mannerisms and attempted to be the film that set a record for Jackson saying his famous “MF” word more than any other film.
Don’t get me wrong, those mannerisms still exist here. They are just far more natural and genuinely funny this time around. The chemistry between Reynolds and Jackson flows much better this time around as well. Maybe it’s the addition of Hayek in the middle, but the dynamic is extraordinarily more solid. The choice to have the first act on Reynolds and Hayek offers a new relationship that lays the foundation for something new in the story before Jackson is thrown into the remix. The character growth between the three characters is equally compelling. It might even be one of the strongest legs the movie has to stand on. The growth of Reynolds alone, as I will address in the mental health moment, offers some of the film’s most hilarious moments, along with some of the most heartfelt.
Reynolds isn’t alone; Hayek shares in that development for some interesting choices. The first act lays the foundation for a dynamic between the two that carries long into the film’s finale, resulting in one of the strangest, yet satisfying, endings in recent memory. It does leave the door open for a rather oddball third film, should Lionsgate choose to take that path. If they do end up doing it - you have one viewer here that is excited for what comes next. Coming back to Hayek, however, she is the heart of the film. She is insanely bloodthirsty for a good chunk of the movie but she is the emotional core of the film that unites the characters together. That includes Banderas, in an odd way that somehow manages to pay a subtle nod to Desperado.
The comedy is stronger as I previously mentioned, compared to the first film. The action of the movie is equally an improvement on what has gone before it. The final showdown of Banderas, Hayek, Jackson, and Reynolds might be some of the best action set to film this year. Hitman’s Wife paces itself incredibly well enough to make every action sequence exceptionally satisfying. By the time we get to the bloody final act, it feels earned in nearly every way. The film isn’t without its faults. It nearly follows the exact formula of Hitman’s Bodyguard to a T. For as much good as it has going for it, it has predictability running parallel with it. The filmmakers recycled the majority of the plot points, extended Hayek’s role, and changed a few things - out came the sequel. Honestly, you can say that about most sequels. It feels a little more frustrating with this one given how well they improved upon the lackluster bones of the original.
Overall, Hitman’s Wife’s Bodyguard is a fun time. Samuel L. Jackson, Salma Hayek, and Ryan Reynolds have fantastic chemistry, though it is the dynamic between Hayek and Reynolds that creates the odd emotional foundation of the film. It takes the film into surprisingly touching and equally hilarious territories for the movie. The comedy and action are stronger the second time around. Antonio Banderas is the perfect threat for our heroes in this sequel journey. Unfortunately, sequel syndrome hits this film hard with predictable character choices, a tweaked narrative, and copy cat pacing. Despite these faults, Hitman’s Wife’s Bodyguard is a massive improvement and an exceptional time at the movies rolled into one.
RORSCHACH RATING:
Mental Health Moment: The events of the first film leave Ryan Reynolds’ character in a state of trauma. This film opens up on Reynolds describing to a therapist how Darius Kincaid (Samuel L. Jackson) has ruined his passion in life and subsequently his career, which has a profound effect on his identity, sense of purpose, and ability to function as a human. The therapist suggests taking a sabbatical or period of rest to find himself. It seems like a silly thing to consider in our current mile-a-minute lifestyles. We are the generation of instant gratification.
We are the first generation to have literally any answer we could ever want at our fingertips within seconds. Rest is probably one of the hardest things I’ve struggled with most in my life. I would rather fill up my schedule with every possible thing imaginable, go out and socialize, and burn myself out in the process. Eventually that has an effect on not only your mental health but your physical health as well. I remember reading an article about how Mariah Carey literally hospitalized herself for burning herself out. Take this article from SWEAT on why it’s important to take days to rest and slow down. Your body and mental health will thank you for it later.
If you or someone you know is reading this right now and struggling with suicide, depression, addiction, or self-harm - please reach out. Comment, message, or tweet at us. Go to victimsandvillains.net/hope for more resources. Call the suicide lifeline at 1-800-273-8255. Text "HELP" to 741-741. There is hope & you DO have so much value and worth!
Victims and Villains is written (and produced) by Josh "Captain Nostalgia" Burkey and others, and edited by Cam Smith. Music by Mallory Johnson and others. Hitman’s Wife’s Bodyguard is property of Lionsgate. We do not own nor claim any rights.
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