The Hitman’s Bodyguard (2017)
Director: Patrick Hughes
Screenwriter: Tom O’Connor
Starring: Samuel L. Jackson, Ryan Reynolds, Gary Oldman, Richard E. Grant, Salma Hayek, Elodie Yung
Patrick Hughes brings together a high-profile cast for The Hitman’s Bodyguard: Samuel L. Jackson and Ryan Reynolds headline a film that teeters between action-thriller and buddy comedy. On paper it promises the kind of combustible pairing that can elevate predictable plots into memorable entertainment. In practice, the film delivers sporadic laughs and a few energetic set pieces but is ultimately hampered by a thin script, uninspired action choreography and an overall sense of missed potential.
The premise is straightforward: a professional bodyguard (Reynolds) must transport an imprisoned hitman (Jackson) to The Hague to testify against a vicious dictator. That setup provides opportunities for tension, banter and escalating set pieces, yet Hughes and the creative team rarely find imaginative ways to exploit the premise. Action sequences are serviceable but seldom inventive, relying on standard tropes rather than surprising staging or memorable moments. Cinematography does its job without ever standing out, and the film’s colour palette follows the glossy, over-processed look common to many studio releases of the era.
Another weakness is the film’s use of locations. Though filmed across several European cities, the locales—Manchester, Coventry and The Hague—feel interchangeable. They function merely as backdrops rather than as integral elements of the story. That choice undercuts opportunities to ground the plot in a stronger sense of place and removes a potential source of freshness from the production design and action staging.
Still, the movie benefits from the chemistry between its leads. Reynolds plays the straight-laced, somewhat exasperated protector, while Jackson embodies a foul-mouthed, razor-sharp hitman whose profanity and bravado power many of the film’s funniest moments. Their antagonistic rapport evolves into a begrudging camaraderie, and those exchanges provide most of the film’s emotional and comedic payoff. Salma Hayek, in a brief but scene-stealing role as Jackson’s wife, delivers the sharpest comedic beats per minute—her tirades and affectionate flashbacks contribute genuine warmth and surprisingly effective humor, though she is regrettably underused.
Gary Oldman as the film’s antagonist is serviceable but underwritten; the villain lacks the depth or menace to make confrontations feel consequential. Many supporting characters exist mainly to move the plot forward and do not receive much development beyond archetypal functions. As a result, the film leans heavily on the Reynolds–Jackson dynamic to carry the audience through slower narrative stretches.
Screenwriter Tom O’Connor’s script contains flashes of wit but is often hamstrung by repetitive jokes and an uneven tone. Moments that could have been played for clever self-awareness are sometimes handled clumsily, and an overreliance on profanity as a comedic crutch reduces the impact of sharper writing. Likewise, the third act feels rushed and leaves several subplots and setups insufficiently resolved. The result is a film that entertains in bits and pieces but fails to cohere into a satisfying whole.
Technically, the film is competent: editing keeps the pace moving, the music supports tonal shifts, and stunt work is adequate for the genre. However, none of these elements elevate the film into something exceptional. Instead, they sustain a middling experience—enjoyable in short bursts but forgettable in the long run.
In summary, The Hitman’s Bodyguard is an uneven action-comedy with a strong central pairing. Samuel L. Jackson’s larger-than-life presence and Ryan Reynolds’ steady comedic timing provide enough momentum to keep the story afloat, and Salma Hayek’s cameo is a highlight. Yet the film’s uninspired action, underdeveloped villain, and scattershot screenplay prevent it from fully realizing its promise. This is a watchable summer diversion if you enjoy the leads, but it’s unlikely to linger in memory beyond a week or two.
Score: 8/24