The plot is completely secondary , offering ordinary action that is as exciting and innovative as a French style. We get the obligatory vehicle chase, villains who shoot like rakes and fights that last forever. As if the movie was written sometime in the 1990s.
But wait, it has it ...

Triggered by the successful cloning of the Dolly sheep in 1996 (which is also mentioned in the dialogue) came the scriptwriter Darren Lemke on the story of a professional killer who when he wants to quit being chased by another agent, a cloned younger version of himself. Well-known car chase directors, including Tony Scott, and big-name actors (Clintan, Sean Connery and others) were hired on treadmills, but that was not the case, as the digital technology of the time could not make a credible younger copy of the protagonist.
But now it is here, the first non-animated film with an actor whose face is completely created in a computer. At least that's how the movie is marketed.

Will Smith is an updated James Bond type in American service. He's a devil at killing bad guys. He is good! Damned good! He can even shoot a man sitting in a speeding high-speed train, two miles away. Wow, like. But he has begun to develop a conscience, which is not liked by the managers.

At his side is a younger female colleague and a humorous side-kick of Asian origin. A cliché-like compatriot who even feels more geriatric than the script.

Thus, it is the Taiwanese US immigrant Ang Lee who has the director ship. He is a silver back in film art, who has made one of my absolute favorite films, The Ice storm - and also gifted the film history with fine titles such as Food, drink, man, woman and Brokeback mountain, but here he flexes the muscles in a pure action thinker. Which could be said to be surprising, if it wasn't for the director already showing, with Hulk, interest in (and getting lost in) the machogen.

However, it should be added that Ang Lee's action does not always look like the average diton. It is probably only he who dares to cut so little in a scene with motorcycle hunting, and still retain the skins.

Well, it must be the technology that attracted. In addition to the said, actually successful, "cloning" of Will Smith, he has to work with a renewed 3D technology at a frame rate of 60 frames per second (unlike regular 24 bps). Peter Jackson attempted 48 bps in the Hobbit trilogy, for which he received a lot of criticism. We were many who thought that the photo with its high resolution and detail got a plastic widespread tone, so in that regard it can be said to be brave that like Lee and the gang brass with a full 60 bps.

The result is similar, and hard to get used to. Anyone who has visited a TV vendor and seen those high-resolution promotional films with leaping leopards and aerial photos of famous cities knows pretty much what it looks like. Artificial and colorful, images that are sharp enough to cut. But strangely breathless. In some paradoxical way, dead, in all its graphic vividness.

When you add a lot of violent ballet, run over roof and ambush shooting here as well, it does not feel like being placed in front of a screen where it scrolls a very high-resolution version of Counter strike or such video game - but without get to play yourself.

The new technology almost completely erases the motion blur, which could be something good, but at the same time removing some of what is cinema, or what we have come to associate with biofilm, that very light blur, the relatively soft transitions between film footage's different motifs and elements.

But, but ... maybe it 's the time that speaks through me. After all, you have to be grateful that Ang Lee and the gang dare to stretch the concept of cinema experience, it moves the industry forward. It opens, for good and evil, the door to a future where, for example, Mia Skäringer could play against Rudolph Valentino (why would you now want to ..?).
But it would not hurt if the technology was combined with a good script as well.