A bank teller discovers that he’s actually an NPC inside a brutal, open-world video game.
“Don’t have a good day,” Guy (Ryan Reynolds), the protagonist of Shawn Levy’s action-comedy “Free Guy” proclaims to everyone he bumps into, “have a GREAT day!” If that catchphrase brings to mind Truman Burbank’s infamous, “Good afternoon, good evening and good night” from “The Truman Show,” it’s because Levy & Co shamelessly pluck the concept of Peter Weir’s seminal classic and insert it into a very 2021 aesthetic.
Similarly, the hero discovers the world he lives in is manufactured and breaks through the mold to attain independence and free thought. Only this time, you know, it’s a video game. And while “Free Guy” may lack the nuance, subtlety, and overall brilliance of its clear inspiration, it never really reaches for it. It simply rolls with the punches, and, despite so many things going against it — the bloated budget, the borderline-horrid special effects, the loud proclaiming of Relevant Themes — it works.
That’s due to several factors. Ryan Reynolds turns his trademark charm to 11 as the hapless lead, absolutely dominating every shot he’s in, even when he steps back and allows his co-stars to shine. Where his Deadpool was in-your-face, relentless, and violent, Guy is well-meaning, earnest, seemingly unaware of how hilarious he is. It doesn’t take long for him to win you over. The rest of the cast shines — a rarity for Hollywood blockbusters of late (see: “Godzilla vs. Kong,” “Jungle Cruise”) — especially Jodie Comer, effortlessly keeping up with the stalwart lead. Taika Waititi hams it up just a smidge too much, which is a rarity for the formidable actor/filmmaker.
Another reason the film works so well is due to Matt Lieberman and Zak Penn’s sharp script, crammed with zingers and knowing references, but never losing sight of its characters. The story becomes secondary to simply watching the actors trade snappy one-liners; similarly, the abundant, by turns moderately-impressive and eye-scorching SFX manage to not entirely dominate the screen — the film’s humor and assurance are its greatest special effect. An argument can also be made that the entire plot and its staples (The Hero/Savior, The Best Black Friend, The Shitty Boss, The MacGuffin, etc.) is an attempt at a reflection of, and rebellion against, Hollywood blockbuster structure.
If that’s the case, it works, to a point. “Free Guy” is refreshingly original in many ways. Sure, it may steal its main concept, but we all know every story has been told, and the way the film takes its time to unfold and reveal the big picture, then proceed to have fun with it, is quite inspired. A plethora of moments both epic and “blink-and-you’ll-miss-them” dominate the screen, including a very special cameo by an A-lister, an actually-funny Marvel reference, and the final, side-splitting battle between Guy and, well, um, I really have to let you discover the doppelgänger creation the filmmakers have concocted here.
Props to blockbuster veteran Levy (“Night at the Museum,” “The Pink Panther”) for orchestrating this organized chaos. It very well may be the best film he’s helmed yet. A pleasant surprise, “Free Guy” frees itself of convention just enough to attain a personality of its own.
In Theaters Friday, August 13th
