Código sombra: Jack Ryan
Jack Ryan: Teorija chaosa
Director:
Kenneth BranaghCámara:
Haris ZambarloukosMúsica:
Patrick DoyleReparto:
Chris Pine, Keira Knightley, Kevin Costner, Kenneth Branagh, Colm Feore, Nonso Anozie, Aleksandar Aleksiev, David Paymer, Lee Asquith-Coe, Gemma Chan (más)Streaming (4)
Sinopsis(1)
La acción resulta imparable desde el momento en que el nuevo fichaje de la CIA Ryan se ve atrapado en una peligrosa red de intrigas que giran en torno a su incauta novia, un sombrío agente del gobierno y un implacable criminal ruso. Ryan ha de pasar rápidamente de ser un mero analista a un agente a total rendimiento y detener una devastadora trama terrorista contra Estados Unidos. (Paramount Pictures España)
(más)Reseñas (10)
El nuevo Jack Ryan quiere ser Ethan Hunt y Jason Bourne, pero no está muy cerca ni de El pacificador. Un suspenso de espías producido en 2014 sin una sola atracción de acción, localización interesante o giro inesperado. Seguro que se suponía que iba a funcionar el respeto por el villano principal y el miedo que da, que crearían la tensión necesaria. Pero no funciona. El espectador sin lugar a dudas sabe que tal guión de plantilla no se permitiría hacer daño a la querida de Jack. Para Branagh no fue difícil aceptar la oferta, porque del simple y lucrativo contrato de Hollywood sacó un doble provecho. Ya lo dejamos así.
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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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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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I suspect Kenneth Branagh of shooting this film only to show how well he can speak Russian-accented English in his role of a Slavic oligarch. Otherwise I don’t understand why he cast so many good actors in this mediocre B-rated spy movie with terrible action scenes.
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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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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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This central almost-married couple wants to be as witty and genuine as the one from MI3, but they can’t. The action wants to be as intense and raw as in Bourne series, but it's not it. Kenneth Branagh is having a lot of fun, that's true, and Kevin Costner as a mentor, how else, right? Well, there's nothing more to say about this overall average thriller with poorly executed action scenes.
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Three and a half stars because Jack Ryan is above average, although not by much. It's actually an old Bond movie. In a new coat. And without James Bond. The fact that it looks so ordinary, mundane and unoriginal, and that not much surprising happens in it, can be a plus for some as much as a minus for others. Personally, I was most annoyed by the (next) bomb, which again had that necessary timer with a digital display... It's become such a cliché that I can't help but laugh whenever I see it (especially when remembering the excellent The Sum of All Fears). However, Branagh's meticulous direction and Doyle's excellent music, the acting performances, and the dialogue scenes that are perhaps more interesting than the action scenes (not that the fight in the apartment isn't awesome) are unquestionable.
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Actually, the only interesting thing about Jack Ryan is the creepy armchair rightism without a shred of self-reflection. Not only is there not really much to justify the hero's reasons for superiority – he's smart, he's pretty muscular, but so are his opponents in the film, and he only wins because he's more strongly committed to service of his country – but more importantly, all the US security forces here look adorably harmless, especially thanks to the presence of a bored and fatherly Costner. While the focus of the virtually identical Spy Game also didn't address the controversies surrounding the agents and their actions, it nevertheless pointed them out and constructed a point of view. Here, Chris Pine is a constantly whining young man in the snares of the big game, who has little choice throughout the film yet seems untroubled by it, a bit reminiscent of a noodle in a lunch pail. All the while, he manages to constantly grope his girl and cast doe-eyed glances throughout the entirety of the film like it's not fair, but someone has to do it. The most fun, though, is the final shot, which is identical to the first Godfather. It's where Al Pacino closes the door on his wife and she finally realizes how her life has been pushed to the margins. Here, it’s the viewer the door closes on and the ones standing behind it are the president (with a subtle Southern accent) and CIA agents.
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