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With their snappy, sexy chemistry in “The Protégé,” Maggie Q and Michael Keaton create a romantic comedy so good that you’ll wish their relationship was in the service of a better movie instead. As a result, they bounce off each other—sometimes quite literally—in this competent but ultimately forgettable late-summer action-thriller from director David Fincher.
It is directed by veteran director Martin Campbell, whose filmography includes a couple of Bond films (“GoldenEye,” “Casino Royale”), a couple of Zorros, and that “Green Lantern” adaptation in which Ryan Reynolds makes fun of himself. The film has solid fight scenes, a few gnarly kills, and a fast-paced pacing that keeps you on the edge of your seat. “The Protégé” is a slick and glib film that is constantly on the move from one city to another and from one genre to another. Also included are mismatched buddy comedic scenes and a doomed romance. Rather than what it’s about (seeking revenge for the assassination of a 30-year-old assassin), the film is more interesting because of the person who’s at the center of it: Maggie Q’s character.
Anna is a highly trained contract killer who maintains her cool and efficiency throughout the process. She also has impeccable taste in clothing, food, and literature (the rare bookstore she owns in London serves as both an innocent front and a true passion for her), and she’s always ready with a witty aside, no matter what the situation calls for. We learn where she came from in a flashback to 1991, when she was hiding in a closet with a gun and surrounded by dead bodies when Samuel L. Jackson’s swaggering assassin Moody came across her and transformed her into the killing machine she is today in the film’s opening sequence. (“This kind of foul-mouthed and irreverent character is something Jackson can do in his sleep,” says the actor). However, Anna is forced to confront both her traumatic childhood and her cultural roots as a result of a decades-old death, which she does reluctantly. The film makes no attempt to explain why this is supposed to happen; “The Protégé” never delves too deeply into its subject matter on the way to its abrupt conclusion.
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When bad guys come after Moody, she has no choice but to pursue them. Along the way, she becomes entangled with Michael Rembrandt, played by Michael Keaton, a ruthless fixer for a billionaire criminal who portrays himself as a humanitarian around the world. Starting from the very first moment she meets him, pretending to be a customer in her bookstore and effortlessly quoting Poe as a form of flirtation, the two share a banter that’s so light and zippy that it feels like it’s fluttered in from a completely different film. Their conversation significantly improves the mood, but it also appears out of place in such a violent and bloody setting. His concern for her is evident by the fact that once they have captured her, albeit briefly, he instructs his beefy underlings to use caution when waterboarding her. And listening to the two of them gush over each other over drinks about the different sounds that different handguns make makes my heart skip a beat.
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Nonetheless, Campbell and editor Angela Catanzaro were wise to allow the fight scenes between these two actors to play out in order for us to see the choreography and the effort they’ve put into these roles. Keaton is nearly 70 years old and is going toe-to-toe with Maggie Q, who is a badass goddess who appears to be able to hold her own against her. And, of course, Keaton infuses the role with a sense of inspired menace, as well as a twinkle in the eye with his playful delivery of the lines.
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“The Protégé,” on the other hand, is primarily an action film, despite the fact that it makes a point of atoning for sins committed in the past. Despite the fact that the script was written by Richard Wenk, whose muscular oeuvre includes Denzel Washington’s “Equalizer” films, a “Jack Reacher” film, and a “Expendables” film, the script revisits the horrors Anna witnessed in the past but seems more interested in the perils she can escape in the present. This is the kind of movie in which a security team full of generic thugs in matching leather jackets and buzz cuts can fire a million rounds at her and not hit her once, but she can fire exactly two bullets and take down both of the men who are chasing her down and out of the way. She also uses a firehose to jump through an atrium, and the hose is just the right length to ensure that she lands on her feet safely in the lobby.
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In the end, there is little doubt that Anna will outsmart and outlast anyone who dares come after her, from Bucharest to London and back to Da Nang again, and thus there is little suspense. She serves as the calm and unflappable focal point of this glitzy remake of a B-movie revenge thriller. Simply hearing the first few notes of the overplayed “Feeling Good” song as she begins her day with a jog signals her invincible state of mind. However, while this may appear to be nitpicking, it represents the kind of safe and superficial choice that is characteristic of a movie that does not care to begin to explore how this woman feels about all of the death she has caused or what kind of life she may actually want for herself.
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The film is currently showing in theaters.
For more personality quizzes check this: The Many Saints Of Newark Quiz.
