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Snake Eyes must avenge his father Steven Allerick, who was executed by an assassin Samuel Finzi on behalf of Cobra, a cabal of flamboyantly dressed terrorists. Snake Eyes would do anything to catch his father’s killer, even betray his pal Tommy Storm Shadow Arashikage Andrew Koji, the main heir to the underground ninja clan Arashikage.
But to gain Tommy’s trust, Snake Eyes must impress Tommy’s family by successfully completing a series of ninja trials involving giant snakes and a magical rock. Somehow, for all this dizzying silliness, Snake Eyes: GI Joe Origins is sort of not a game, but more of a nap.
How could this happen? Mainly because the filmmakers are committed, but never invested in the values and identity of a comic book antihero whose main draw is his strong, silent schtick. A little usually goes a long way with Snake Eyes, because like the rest of GI Joe’s characters, there’s not much to the character beyond some animated, kid-friendly umbrella concepts like loyalty and honesty.
So Snake Eyes’ big test of character is to sell Tommy – to Kenta Takehiro Kira, a disgraced member of the Arashikage clan – in exchange for information about his father’s killer? The answer will not surprise you at all, but it is almost irrelevant.
The real problem with Snake Eyes: GI Joe Origins is that it answers a question no one has asked, and with woefully overproduced dialogue and action movies. This movie is too fancy to be a war crime, but it’s also too bland to be a decent summer movie.
Lots of dialogue in Snake Eyes: GI Joe Origins swells a convoluted story about stick figures walking around once exotic places – the neon-lit back alleys of Shinjuku, the cherry blossom-filled courtyard of a strong ninja, and talk at length about betraying and or testing each other.
Everyone has an elaborate and / or sassy response to other people’s questions, like who Cobra is, what a GI Joe, why do you want to befriend Tommy so badly, and do you think can we trust this guy from Snake Eyes? There’s also not much chemistry between the film’s protagonists, in part because they don’t seem to be sharing screen time for more than a second or two at a time.
Arriving in the UK later than its original US release, Robert Schwentke’s film Snake Eyes: GI Joe Origins is a cluttered franchise starter that stalls before it can really boot, making the same mistake as the Mummy remake. 2017 in that he spends too much time putting together an established universe without really giving you a reason to keep watching.
Schwentke’s record is uneven at best – the Divergentthe films are somewhat of a weak link in the myriad of teenage dystopias that have occupied the previous decade, and while the paper cast is full of promise with the normally excellent Henry Golding, Samara Weaving, Iko Uwais and Andrew Koji, Snake Eyes doesn’t quite know what to do with any of them – wasting their potential on a hopelessly bland affair.
Is there room for a GI Joe franchise in the age of superheroes? It sounds like the franchise’s attempt at The Wolverine , shifting the action to Japan in attempts for a fresh start. But is it paying?
The movie borrows a lot from a Phase 1 Marvel movie – only, if it was part of the Marvel Universe, it wouldn’t break the top half. In fact – the storyline almost ominously resembles Doctor Strange from 2016, and the mid-credits sting even reminds Iron Man’s I’m here to tell you about the Avengers Initiative.
It’s as if no one had learned anything from Tom Cruise’s vehicle that bombed before he could truly revive the doomed Dark Universe , as there isn’t a single moment to remember about Viper’s Eye because it sounds like the worst kind of movie, a boring movie that never really tries to have fun. Like GI Joe: The Rise of the Cobra- the film released in 2009 which launched with a similar goal to start a franchise capitalizing on the wake of the Bayhem-powered Transformers franchise, and even The Rock couldn’t save it in 2013 with Retaliation.
Henry Golding, to his credit, is trying – but it’s not his best time, and the most unfortunate thing about Viper’s Eye being the way he’s probably killed every chance we’re going to have like him as than Bond.
Caught between two worlds, Snake Eyes saves the life of the heir apparent – Tommy – played by Andrew Koji – of an ancient Japanese clan called the Arashikage. After a bloody flashback in which we learn how Snake Eyes got his name when his father was killed, we take a look back at today’s Los Angeles before quickly moving to Japan. The movie wastes no time getting started, but unfortunately due to its fast pace and interest in the action it just keeps slowing down and giving you a reason to worry about it, maybe we got it. ‘impression that there are one or two scenes left on the floor of the editing room the motivations of the characters are changing far too quickly to feel organic,
The last ten minutes or so seems quite unnecessary, Snake Eyes falls into the same trap that most of the early series of doomed TV shows did on network TV, arrive with the self-confidence that they’re going to have a sequel before they even start.
Therefore, instead of looking to the future Viper’s Eye maybe it would have been better to look back – taking ten minutes from the end and applying it to character development might give everyone more room to breathe. , and nothing of value would have been lost. In fact – this movie might even have won some.
Viper’s Eye wastes a talented cast in arguably one of the film’s biggest offenses, relegating The Descent Iko Uwais to playing a supporting character and never giving him meaningful fight sequences that we all know he has. On top of that, the fight choreography is as bland and generic as Mortal Kombat who came before him earlier this year, committing the cardinal sin of having characters dressed in black costumes fighting against a black background in one of the fight scenes from the film’s final act set on a very highway.
It’s almost unrecognizable, as is most of the action in the entire movie. It might be good to justify the lack of character development if you had a streamlined, mean, and lean action thriller that took a more straightforward approach with minimal franchise building complications.
However, Snake Eyes runs before he can walk – and feels dead when he arrives.
Snake Eyes: GI Joe Origins is probably as good a movie as the one you’ll get with the words GI Joe in the title. Maybe that’s because it seems to have very little to do with the conventional idea of GI Joe. It’s not an orgy of heavy, square-jawed, slightly chauvinistic combat, like GI Joe: The Rise of Cobra 2009 or GI Joe: Retaliation 2013, the two previous installments of the Hasbro-inspired action franchise.
Rather, it is a ninja fighting orgy with a dark atmosphere and slender limbs – a story of revenge, nobility and intrigue set in Tokyo, where the main character Henry Golding, a wanderer of bad mood who saw his father killed by dark forces, joined the Arashikage clan, a 600 year old ninja dynasty.
Snake Eyes, directed by Robert Schwentke The Divergent Series: Insurgent, has style and verve, with an evil family storyline that creates a reasonable quota of real drama. The movie is also a synthetic yet infectious mishmash of major ninja movie studios, wuxia movies, yakuza movies, and international revenge movies.
The fight scenes are staged with razor-sharp precision, and the entire film, as shot by cinematographer Bojan Bazelli, has an enveloping appearance of nocturnal bloom. For a children’s franchise film that’s pretty good, but the main title is this: Henry Golding has to be seriously considered for the role of James Bond. Snake Eyes clearly shows that he has the beauty, the cool, the glamor, the danger,
Golding’s Snake Eyes got its nickname from the death of his father. An assassin, infiltrating a safe house, asked the father to roll a pair of dice; he came from snake eyes, which meant his number was up. When we meet our hero as adults, he’s a caged fighter, beholden to nothing but his own preservation. So when Kenta Takehiro Hira, a short-haired, imperious sneer yakuza leader who may remind you of James Spader’s Red on The Blacklist, tries to hire him after a fight, he’s not interested.
That is, until he learns what is promised in the market: that Kenta will find her father’s killer. It’s the only thing Snake Eyes cares about. Amidst the ruthless fireworks of the ensuing ninja attack, he saves the life of Tommy Andrew Koji, a fighter with a lean and malicious brood. He’s taken under Tommy’s wing, and Golding is such a good actor that he makes us believe how deep that bond is.
But it’s actually a one-sided fraternity. Tommy is the heir apparent to the Arashikage clan, which resides in an elegant fortress on the outskirts of Tokyo. He wants to bring Snake Eyes into the fold – but the other clan members are a bit of godfathers about it. They don’t trust anyone who is not family. It gives the tension between Snake Eyes and Akiko Haruka Abe, the clan’s security expert, in his medieval bangs, a delightful snap. She neither likes nor approves of it, but there is a hostile erotic spark between them that is all the more alluring when it is not consumed.
To join the clan, our hero must pass a series of three tests, the last of which could kill him, and Snake Eyes makes them surprising enough to excite us. The film was written by Evan Spiliotopoulos, Anna Waterhouse, and Joe Shrapnel, based on a story of Spiliotopoulos, who turned out to have a rare knack for adding real flesh to bone in genre material. Snake Eyes’ attempt to break through the clan packs a punch.
He has to win over skeptics such as the ruthless Hard Master Iko Uwais and the All-Seeing Blind Master Peter Mensah, and even the Traitor Third Test, which turns out to be a battle with three giant anacondas that could have been animated by Ray Harryhausen, wears a zen psychological cliché.
What we learn, before long, is that Snake Eyes is in the service of two masters. Golding makes him the soul of honor and a man who longs for a home, except that he does not behave honorably. He is torn between loyalty and revenge – or rather between two types of loyalty since the revenge he seeks is about loyalty to his father.
It tears itself apart. Schwentke transforms the clan compound into a mossy garden of suspense, mixing blazing motorcycle rides and fighting in the rain against the hot splashes of neon Tokyo.
Snake Eyes is, of course, an origin story, but what struck me as I watched it was how much this shape now connects franchises and genres. GI Joe isn’t quite a superhero, but the film sometimes feels like a Marvel kickoff with touches of Batman Begins. There is enough thrilling action for its own although at times it could be a Fast and Furious spin-off.
The villains, who are linked to the ubiquitous underworld terrorist syndicate Cobra, could be the masterminds of nearly any outsized global thriller. At the end, when Snake Eyes learns that his father was a Joe, we’re ready for the entire GI Joe series to become a reboot of itself. Movies now appear to be stuck in replay mode.
At first sight, according to our vision, we are seduced, j ustement by all these free effects that will stop at nothing to seduce the viewer’s eye to which the film is intended, make it completely addicted to these action scenes excessive, rendering the piercing and vengeful gaze of the former child who witnessed the assassination of his father, an everyday hero. Robert Schwentke, originally from Germany, seems infatuated with genre cinema, especially those in the Marvel franchise.
Money in hand, he exploded in a whirlwind that was to be dear to him as far as the institution was concerned, despite appearances and predictions of early death, from institutionalized critics and experts in the field. For this film in particular, after a rather emotional initial reaction to follow up on the press presentation, my rating went down a notch, but only one, no more. Because all these outrageous ideas that lead nowhere do not seem so disturbing to me.
Sometimes, as is my case, I let myself be moved by the emphases, the disproportions, the spectacular effects, the convoluted stories which, suddenly, restore a semblance of logic after a situation. Snake Eyes is full of these kinds of twists.
In a way, it is accepting and assuming the cinema of mass culture. This does not prevent that we can also serve the cause of private cinemas, author’s essays. One does not prevent the other.
Needless to say that the main attraction of the film, for good or bad reasons, is Henry Golding, the British-Malaysian who conquered the romantic universe with Crazy Rich Asians / Crazy Rich in Singapore 2018, a worldwide success. How to consider that his face is inaccessible through a superhero mask? As conceived by Evan Stiliotopoulos, the creator, can’t we conceive of the film based on old recipes by showing the hero naked, his face uncovered, assuming his own responsibility.
A story of revenge, of possible filiation by a blood pact whose consequences we cannot guess. Insertion into a Japanese clan of a bygone era arguably awkward, yet sincere nod from Schwentke to black-and-white samurai films of the 19 60s.
Other cinematographic references are also present, a medley of films of different genres. The official criticism will exhaust the film for all kinds of reasons, most of the time rational, sometimes personal according to their vision of the cinema.
That is ! Still, despite his lack of logic in some sequences, his missed appointments with the original characters, probably the fault of the three writers, Joe Strapnel, Anna Waterhouse and especially Evan Stiliotopoulos, signatory of a single feature film, recently released, The Unholy Medium 2021. Paramount, among the American majors , must bite their fingers. Unless popular fervor is enough to win the case.
Previously titled Snake Eyes: GI Joe: Origins, because of course it serves as the origin story for one of GI Joe’s most beloved characters, this movie introduces us to a handful of other mainstay characters as well.
Directed by Robert Schwentke from a screenplay written by the trio of Evan Spiliotopoulos, Anna Waterhouse and Joe Shrapnel, the film serves as a reboot and reintroduction to the franchise. It’s nothing spectacular, but compared to the low-cost caricature of previous installments, it’s decent. The performances are surprisingly convincing, and while the action sequences are a bit patchy, the truth is, if you want to reboot this kind of franchise, you could do a lot worse than they did with Snake Eyes.
We start the story years ago, in the woods of Washington State. A young boy watches his father roll the dice for his life, but he only sees snake eyes. The boy escapes, even as the mysterious killers murder his father and set their house on fire. Nowadays, the now adult boy has grown into a wanderer known only as Snake Eyes Henry Golding . He wanders from town to town, fighting in underground fights for money until his talent is noticed and makes people stop betting against him.
It was after one of these fights that he is approached by Kenta Takehiro Hira , a man who says he has a use for a man with this kind of talent. Before he knew it, Snake Eyes was working for Kenta, helping her smuggle guns and drugs through the Los Angeles docks on behalf of the Yakuza. But when Kenta demands that Snake Eyes kill Tommy Andrew Koji , a thug who has become her friend, Snake Eyes refuses. This leads to a battle in which Snake Eyes saves Tommy’s life.
If you haven’t guessed, it turns out that Tommy is actually the offspring of a powerful Japanese clan. The Arashikage clan is a noble and venerable organization, having spent centuries preserving order and combating evil. Kenta, an Arashikage cousin, was jealous and sought to take control of the clan. Of course, there is much more here than it seems.
What follows is a battle for power, both figurative and literal. We are introduced to the forces of the Cobra terrorist organization – including the deadly and alluring Baroness Ursula Corbero – and the existence of the GIJoes counterterrorism strike force via elite agent Scarlett Samara Weaving. Betrayal after betrayal, Snake Eyes finds himself caught in the crossfire, unsure of who to trust and if the revenge is worth the price he might ultimately be forced to pay.
Snake Eyes is a solid action movie. Honestly, it’s much better than I expected. It’s pretty good. Not great, but pretty good. And he benefits from the fact that other than some iconography and a handful of character names, he’s not completely tied to the great GIJoe mythos.
GI Joe’s third film hits Dutch and US theaters this week Snake Eyes: GI Joe Origins Premiere. The film was released quite a few years after the two GI Joe: The Rise of the Cobra (2009) films in GI Joe: Retaliation (2013). Now the first reviews are online for the movie in which we Henri Golding Crazy Rich Asians, gentlemen as the fast ninjas see it. At the time of writing, the action movie is in progress 49% after 47 responses. The average rating is currently 5.10 / 10.
“Far from being calm and not particularly deadly, Snake Eyes serves as a springboard for the GI Joe franchise, thanks in large part to the work of Henry Golding in the title role.” reads the Critics’ Consensus on Robert Schwentke’s film RED, RIPD.
Reviews are generally low to just good enough and probably few people would have expected a masterpiece. This one is too fancy to pass for a war crime, but it’s also too bland to be a decent summer movie, can be read in Simon Abrams’ review on RogerEbert.com.
Brian Truitt of USA Today gives it three stars 3 out of 4: A satisfying martial arts action adventure with two high-energy protagonists, a host of super-fast swordplay and the best argument yet for one. GI Joe movie universe. Snake Eyes: GI Joe Origins is probably the best movie you’ll get with the words ‘GI Joe’ in the title, writes Variety’s Owen Gleiberman. And Michael Ordona of the Los Angeles Times: Snake Eyes: GI Joe Origins finally has enough fun action scenes to be worth the popcorn money.
While the competition multiplies juicy superheroic franchises, Paramount also wants to enter the big leagues and seeks to relaunch the GI Joe series, adapted from Hasbro toys. With an 80 million dollar origin story on his silent ninja, Snake Eyes. Intended for the cinema, postponed several times since early 2020, the film finally arrived directly on VOD in France. So, bet held? When it was just a cartoon, the GI Joe franchise existed primarily to be able to sell Hasbro toys to lobotomized children.
When it was adapted to the cinema in 2009 with G.I. Joe: Le Réveil du Cobra, it consisted mainly of a succession of action scenes with exploding toys as well as beautiful kids with beautiful kids, the breasts of the latter replacing the special effects to distract the audience of lobotomized teens targeted by the film.
Riding the wave of superheroic craze and fantasizing about the possibilities offered by the MCU, Paramount therefore tries to introduce its extended universe by giving an origin story to Snake Eyes. In the first two installments, this all-black-clad ninja was played by Ray Park, iconic performer of Darth Maul in Star Wars: Episode I – The Phantom Menace.
In addition to benefiting from the talents of the British stuntman, the character had one essential quality : he was totally mute, leaving the dialogue tasteless to Channing Tatum and others.
Here he not only speaks, but it now has the right to the head of Henry Golding and an origin-story particularly cliché: n ur dashing samurai adulterated have therefore the right to childhood trauma of snuffed dad and to have thirst of revenge that will guide his destiny and the scenario against all odds and common sense. While he beams a musclor in a cage for money, Snake Eyes is spotted by Kenta, a yakuza who offers to help him find his father’s killer if he agrees to work for him.
When asked to execute Tommy, an heir of House Arashikage infiltrated in Kenta’s gang, he decides to save him. Tommy, grateful, invites him to the Arashikage clan house in order to give him tests to allow him to re-enter the clan. But Snake Eyes is actually undercover on Kenta’s behalf. Will he be able to avoid betrayal?
The first big problem of Snake Eyes, is his scenario, clearly intended for children 4 years old who beg their parents to buy the Hasbro end up in the freezer. The twists are all more telephoned than a call center in Pakistan and the reasoning of the characters has no logic other than to advance the scenario. The characters are reduced to being plot vehicles, and none ever goes beyond the stage of archetype or narrative tools. No action arouses emotions, since we just have the impression of seeing boxes ticked with each line spoken.
Worse still, if the motivations of the main character are clearly presented to us, they prevent any attachment to the latter, also reduced to a function of the story. His change of attitude will come after nearly an hour and a half of film, on a rebound so predictable that we could almost see the post-it of the writer lying on the side of the screen. If the synopsis of Snake Eyes is also wobbly, it’s also because it constantly tries to remind you that it is a GI Joe movie like a child with abundant snot insisting on knowing the arrival time.
References are thus regularly made to JOE and COBRA, which exists both as a backdrop and as characters in its own right, through the characters of Samara Weaving and Úrsula Corberó.
As predictably as the screenplay, the film grabs its legs in its attempt to hybridize and ends up stuck between two chairs without having the flexibility of one of its martial artists. He never really chooses what he wants to tell and although he tries to tie the wagons back to his conclusion, it still feels like you’ve seen a laborious set-up for a pointless prequel. A conclusion that has unfortunately become commonplace in recent years.
Obviously, one could largely argue that these are mainly comments from haters, that Snake Eyes is first and foremost a ninja movie and that the priority is above all to install a red imitation thread to thread combat scenes.
But no luck, the disappointment is just as great on that side. German director Robert Schwentke, originally sympathetic Red and bad R. I. P. D, has never shone in gunfight scenes and melee scenes are no exception.
If some fights get a small smile in the corner of the lips, the few fights that dot the film would almost make you regret the era of the American Ninja. The cutting seems totally hazardous, the editing does not highlight anything and even has the opposite effect, underlining the “take turns” effect of the good-bad guys.
Yet the film offers potentially funny geographical settings a heavyweight carrying cars, an alley with an Asian-inspired look, but exploits them so little that it feels like a bad rip-off of bad Hong Kong movie.
A balance sheet all the more damaging as the cast has in its ranks real martial artists who have already demonstrated their talent elsewhere. But Iko Uwais is treated like an old rusty chekhov rocket by the screenplay, until the final climax where he has the right to crush his kneecap for a few shots.
Andrew Koji will not find either the physicality of Warrior or his writing since the actor may well be invested in his role, his character of heir with heavy responsibilities is written with a shovel.
The biggest collateral damage is undoubtedly Henry Golding. If we were delighted to see him wearing a blockbuster, the unfortunate has absolutely nothing to play, content to walk his scowl and his guttural rumbling throughout the feature film.
In the moments of pure arrogance of the character, we are almost surprised to believe that all this is only the origin-story of Eye Sec, his character in The Gentlemen. The idea will at least help you last the two hours that Snake Eyes lasts.
Torn between his ambition to tell an origin story and install an extended universe, between his desire to be a fighting film and that of addressing the greatest number, Snake Eyes forgets to exist for himself. Its script, made of the same plastic as the GI Joe figures, should probably remind Paramount that it’s time to leave their toys in the closet and start working on real films.
First of all, hello and thank you for your comment. I understand that sounds insulting, but it’s more of a touch of sour humor than deep criticism. By lobotomized, I just mean that generations were then exposed to a lot of cartoons only designed to sell toys, with television becoming just a way of brainwashing and converting kids into consumers not that that has particularly changed.
Myself I paid to rent the DVD of GI Joe the film in 2009 when I was one of his teenagers lobotomized by blockbusters laid in the chain, all more or less modeled on pre-existing models including the quality of writing fell crescendo.
But beyond that, the idea is just to make a silly and mean criticism of a blockbuster that I consider contemptuous of its audience by the infantilization of its audience. I just feel that readers have enough perspective to distance themselves from themselves and understand the satirical side. Hoping that the review was at least distracting you.
I read the review out of curiosity and without questioning the opinion expressed in the article, I have a comment for the journalist. Dear Raphaël, know that insulting the public of a work is not an argument, whatever the non quality of the work. On the contrary, it suggests that you are running out of arguments. This is ultimately not the case, but after the second “lobotomized”, I almost zapped. Insults are unpleasant to read and it is a mark of weakness on the part of the journalist. Think about it.
I really enjoyed it! The action is great, the story is simplistic enough not to get bored, and it feels good a little Ninja movie the hour when we are inundated by superhero movies, and just for that, I wouldn’t spit in the soup. The actors hold the road, the bad guys are really bad, the valves are working, this magic stone that sends dreams, the bo not bad, a lot of masterclasses in the fights, money shots with saber to all go, the universe is perfectly well posed.
Anyway, he ticks all the boxes of the good summer blockbusters. Whether or not we know I didn’t know at all the Joe’s, it must have played out I imagine, but I found this one more successful than the first two combined. There was some concrete left from the ‘hawkeye’ series, some nails and some ‘black widow’ glue, on a beautiful stormy evening when they had no more peanuts and above all were completely stuffed, it is seeing their friend riri sporting his superb full biker helmet, that the writers decided to lay this chef.
I wouldn’t have said to myself. Why would I not resume the anime series, late 80, early 90. Ok it is in 360p, but it’s more interesting. Respect for the universe? Ok there I laughed. The scenario is poor and the fighting scenes are shaped with a trowel. Too bad the casting works pretty well. With energetic and thrilling action, Snake Eyes is a fun summer blockbuster, even if the film’s random setup of the franchise leaves a lot to be desired.
Based on the Hasbro line of action figures, Snake Eyes: GI Joe Origins is the start of a new franchise set in the world of the elite military team and the evil organization they fight against. Snake Eyes works as a reboot of the previously established GI Joe film series, which included 2009’s GI Joe: The Rise of Cobra and 2013’s GI Joe: Retaliation, but it’s a series that focuses a lot more on the titular member.
The film is directed by Robert Schwentke RED, RIPD from a screenplay by Evan Spiliotopoulos Beauty and the Beast, Joe Shrapnel and Anna Waterhouse Rebecca. With energetic and thrilling action, Snake Eyes is a fun summer blockbuster,
The film delves into the past of the mysterious GI Joe character who only passes through Snake Eyes Henry Golding, portraying him as a young boy who witnesses his father’s murder and then becomes a lone fighter. He is recruited into the Yakuza by Kenta Takehero Hira, who promises to find the man who killed Snake’s father. However, when Snake joins Tommy Arashikage Andrew Koji, he makes an enemy of Kenta and is forced to follow Tommy home to Japan.
There he is tasked with three challenges to prove himself and become the new warrior of the Arashikage clan. Meanwhile, Kenta teams up with Baroness Cobra Úrsula Corberó to wage war on the Arashikage Clan, forcing Tommy to call in their GI ally Joe Scarlett Samara Weaving. With the security chief of the Akiko clan Haruka Abe,
Perhaps the greatest strength of Snake Eyes are the action scenes, which are frantic and energetic – although Schwentke’s overabundant use of a shaky camera is frustrating at times as it turns fight scenes into flashes of lightning. confusing movement with little meaning. When the choreography of the fight is allowed to shine, this is where the action of Snake Eyes really flourishes. And the action scenes happen often enough to keep the story of the movie moving forward.
There are a lot of ideas in Snake Eyes that have potential, but few actually live up to expectations. Even the ones that provide some of the film’s most tense and thrilling scenes, like the third challenge Snake Eyes faces, don’t feel perfectly connected to the rest of the film. Altogether,
For their part, Golding and Koji are an entertaining pair to watch on screen, although Golding, of course, has a lot more to work on. Some character decisions don’t always work, but Golding has the charm and charisma to pull them off in a somewhat captivating way. At the very least, Golding is fun to watch in the role.
Koji’s Tommy looks like a caricature at times, largely because the character’s story has to distinguish between explaining why he and Snake are friends and why he ultimately becomes his alter ego from the Joes toy line. But neither the actor nor the screenplay does this balance well. As for the rest of the cast, Hira is clearly having fun in her role as Kenta, while Weaving plays her Scarlett a bit more directly, which is good, although that doesn’t necessarily inspire enthusiasm for a potential GI Joe spin-off. But then, all of the female characters in Snake Eyes are hopelessly underdeveloped.
Baroness de Corberó is ridiculously supersexualized for no apparent reason, and Abe’s Akiko is just as one-dimensional as the overqualified sidekick whose sole purpose in the story is to help the male hero. While Snake Eyes is Golding’s film, the rest of the cast have very little to work with at the expense of the film. Baroness de Corberó is ridiculously supersexualized for no apparent reason, and Abe’s Akiko is just as one-dimensional as the overqualified sidekick whose sole purpose in the story is to help the male hero.
While Snake Eyes is Golding’s film, the rest of the cast have very little to work with at the expense of the film. Baroness de Corberó is ridiculously supersexualized for no apparent reason, and Abe’s Akiko is just as one-dimensional as the overqualified sidekick whose sole purpose in the story is to help the male hero. While Snake Eyes is Golding’s film, the rest of the cast have very little to work with at the expense of the film.
As for Snake Eyes setting up the larger world of GI Joe, it’s about as low-key and unsubtle as it gets in the current Hollywood landscape of franchise cinema. While the film largely focuses on Snake Eyes and his own journey – to the point that it appears the studio planned a full trilogy similar to the early Marvel Cinematic Universe heroes before Golding joined the Joes – there is the required information dump on who the GI Joes and the evil organization that is Cobra are. It’s inelegant, but it gets the job done for those unfamiliar with the Hasbro toy line and previous movies.
Still, since it’s clear that Snake Eyes made an effort to keep the film focused on Golding’s character, all of GI Joe and Cobra’s elements – including Scarlett and Baroness – feel stuck in the plot, begging the question of whether the movie would have been stronger without most. of the biggest build in the franchise world the answer is an unequivocal yes.
That said, Snake Eyes is a great franchise launcher, and it’s a super fun summer blockbuster, with its frenetic action and relentless pace that captivates audiences for the film’s two hours. It might not be the strongest movie set to kick off a big new movie franchise, but it’s functional enough and avoids many of the biggest mistakes series newbies tend to make. As a result, anyone looking for an entertaining action flick or fans of the Snake Eyes character will find it worth checking out – although seeing it on a giant screen only does point out Schwentke’s baffling overuse of the shaky camera.
Those who aren’t already interested in the movie’s trailers and premise would do well to skip it. Ultimately, Snake Eyes is huge, silly summer fun, but doesn’t offer much more than that.
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