The Hitman’s Bodyguard (2017), directed by Patrick Hughes, is a high-octane action-comedy that thrives on the electric chemistry between its leads, Ryan Reynolds and Samuel L. Jackson, while occasionally stumbling under the weight of its own ambition. The film’s greatest strength lies in its casting, with Reynolds’ neurotic, hyper-organized bodyguard Michael Bryce and Jackson’s gleefully unhinged hitman Darius Kincaid forming a combustible odd-couple dynamic. Their banter, laced with sharp wit and improvisational energy, elevates a screenplay that sometimes leans too heavily on formulaic action tropes. The dialogue, penned by Tom O’Connor, crackles in moments of quiet tension, particularly in scenes where Bryce’s obsessive precision clashes with Kincaid’s chaotic bravado, revealing deeper themes of trust and redemption beneath the surface bravado.

Hughes’ direction embraces a relentless pace, which is both a strength and a flaw. The film’s kinetic energy bolstered by John Murphy’s propulsive score keeps the audience engaged through a whirlwind of car chases and shootouts across European locales. Amsterdam’s canals and cobblestone streets are captured with a vibrant, almost postcard-like clarity by cinematographer Jules O’Loughlin, grounding the absurdity in a tangible sense of place. Yet, the frenetic editing occasionally muddles spatial coherence, leaving some action sequences feeling more chaotic than thrilling. This overreliance on rapid cuts undermines the choreography’s potential, particularly in a climactic chase that prioritizes spectacle over precision.

The supporting cast, including Salma Hayek as Kincaid’s fiery wife and Gary Oldman as a cartoonish Belarusian dictator, adds texture but lacks depth. Oldman’s villain, while menacing, feels like a missed opportunity for nuance, constrained by a script that paints him in broad, predictable strokes. Hayek, however, injects a fiery unpredictability, stealing scenes with her limited screen time. The film’s thematic undercurrents exploring loyalty and moral compromise are intriguing but underexplored, overshadowed by its commitment to relentless action.

Ultimately, The Hitman’s Bodyguard is a study in controlled excess, balancing charismatic performances with a script that doesn’t always match their depth. It’s a film that revels in its own absurdity, delivering enough charm and visual flair to outweigh its narrative shortcomings. For viewers seeking a visceral escape with flashes of brilliance, it’s a ride worth taking, even if it doesn’t always know when to slow down.