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Gemini Man

2019  117 MN




Gemini Man on IMDb
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Ang Lee
  Director




Henry Brogan is an elite 51-year-old assassin who's ready to call it quits after completing his 72nd job. His plans get turned upside down when he becomes the target of a mysterious operative who can seemingly predict his every move. To his horror, Brogan soon learns that the man who's trying to kill him is a younger, faster, cloned version of himself.

 Release Date

October 2, 2019

 Runtime

1h57m (117 min)

 Budget

$ 138,000,000

 Revenue

$ 173,469,516


 Top Billed Cast

 Will Smith
 Henry Brogen / Junior
 Mary Elizabeth Winstead
 Danny Zakarweski
 Clive Owen
 Clay Verris
 Benedict Wong
 Baron
 Douglas Hodge
 Jack Willis
 Ralph Brown
 Del Patterson


 Written by

David Benioff Screenplay
David Benioff Story
Billy Ray Screenplay
Darren Lemke Screenplay
Darren Lemke Story

 Tagline

Who will save you from yourself?

 Videos




 Cast

Will Smith
  Henry Brogen / Junior
Mary Elizabeth Winstead
  Danny Zakarweski
Clive Owen
  Clay Verris
Benedict Wong
  Baron
Douglas Hodge
  Jack Willis
Ralph Brown
  Del Patterson
Linda Emond
  Janet Lassiter
Ilia Volok
  Yuri Kovacs
E.J. Bonilla
  Marino
David Shae
  Bicycle Messenger
Theodora Miranne
  Kitty (Jack's Girlfriend)
Fernanda Dorogi
  Mother on Train
Alexandra Szucs
  Aniko (Lab Technician)
Daniel Salyers
  Patterson's Son
Jeff J.J. Authors
  Man at Marina
Justin James Boykin
  Connor (uncredited)

 Crew


Avy Kaufman
  Casting
Jerry Bruckheimer
  Producer
Mike Stenson
  Executive Producer
Chad Oman
  Executive Producer
Dion Beebe
  Director of Photography
Ang Lee
  Director
Tim Squyres
  Editor
Eugene Gearty
  Supervising Sound Editor
Don Murphy
  Producer
David Boulton
  ADR Mixer
Victor J. Zolfo
  Set Decoration
Daniele Massaccesi
  Camera Operator
David Benioff
  Screenplay
David Benioff
  Story
Sharon Smith Holley
  Visual Effects Editor
Ron Bartlett
  Sound Re-Recording Mixer
Scott Chambers
  Compositing Supervisor
Robert Cowper
  Art Direction
Billy Ray
  Screenplay
Robin L. Miller
  Property Master
Dana Goldberg
  Producer
Karl Probert
  Art Direction
Zsolt Csutak
  Casting
Pierce Austin
  Hairstylist
Don Granger
  Producer
David Ellison
  Producer
Frank Murray
  Production Consultant
Jeff J.J. Authors
  First Assistant Director
Tom Reta
  Supervising Art Director
Marko A. Costanzo
  Foley Artist
Greg Crawford
  ADR Mixer
Mark DeSimone
  ADR Mixer
Colleen Murphy
  Visual Effects Production Manager
Craig Kyllonen
  Assistant Sound Editor
Suttirat Anne Larlarb
  Costume Design
Brad Martin
  Stunt Coordinator
Judy Murdock
  Makeup Artist
Brian Bell
  Executive Producer
Darren Lemke
  Screenplay
Darren Lemke
  Story
Einar Martinsen
  Matte Painter
Lorne Balfe
  Original Music Composer
Samuel Miille
  Assistant Sound Editor
John Collins
  Art Direction
George A. Lara
  Foley Mixer
Zoltán Schrammel
  Techno Crane Operator
Diana Trujillo
  Art Direction
Michael Fuchs
  Camera Operator
Darrin Brown
  First Assistant Director
Guy Hendrix Dyas
  Production Design
Frank Kern
  Foley Editor
Todd Kleitsch
  Makeup Department Head
Luisa Abel
  Makeup Department Head
Susan J. Wright
  Costume Supervisor
Bence Erdelyi
  Art Direction
Philip Stockton
  Supervising Sound Editor
Thomas A. Morris Jr.
  Construction Coordinator
Dug Rotstein
  Script Supervisor
Mangesh Palkrit
  Visual Effects Supervisor
Julie Orosz
  Visual Effects Producer
Andrew Rogers
  Graphic Designer
C. Scott Baker
  Set Designer
Doug Hemphill
  Sound Re-Recording Mixer
Ben Rothstein
  Still Photographer
Karen M. Murphy
  Visual Effects Producer
Pete Romano
  Underwater Director of Photography
Hans Bjerno
  Aerial Director of Photography
Gabriella Winkler
  Script Supervisor
Chad Rivetti
  First Assistant "A" Camera
Guy Williams
  Visual Effects Supervisor
Kenton Jakub
  ADR Editor
Michael Singer
  Unit Publicist
Kent Blocher
  Visual Effects Editor
Allan Zaleski
  Sound Effects Editor
Jane Wuu
  Set Designer
Kenneth Bryant
  Set Dresser
Jarred Waldron
  Gaffer
Bryan Hirota
  Visual Effects Supervisor
Miia Kovero
  Key Hair Stylist
Dane Bjerno
  Aerial Camera Technician
Viktor Muller
  Visual Effects Supervisor
Alessandro Saponi
  CG Supervisor
Paul Story
  Animation Supervisor
Kelvin R. Trahan
  Hair Department Head
Ron Mason
  Set Designer
Micky Froehlich
  Camera Operator
Andrew Roberts
  CG Supervisor
Bill Westenhofer
  Visual Effects Supervisor
Dóra Papp
  Principal Costumer
T.Ryan Dodson
  Lighting Technician
Dean Sherriff
  Conceptual Design
Sara Ghaffar
  Art Department Coordinator
Mark Hawker
  Special Effects Supervisor
Gabor Kiszelly
  Special Effects Supervisor
Howard Fannon
  Armorer
Aisling Nairn
  Makeup Artist
Michael Miller
  ADR Mixer
Mary Stacy
  Set Dressing Buyer
Justine Baker
  ADR Recordist
Gergely Rieger
  Art Direction
Patrick McArdle
  First Assistant Camera
Ed Novick
  Sound Mixer
E. Gedney Webb
  Music Editor
Darwin Go
  Visual Effects Supervisor
Mitchell Andrew Lillian
  Key Grip
Christian Labarta
  Second Second Assistant Director
Eric Petey
  Animation Supervisor
Mark Goodermote
  Boom Operator
Damon Marcellino
  Assistant Chief Lighting Technician
Stephen Turselli
  Additional Second Assistant Director
Melyssa Forget Turcotte
  Visual Effects Coordinator
LuAndra Whitehurst
  Key Makeup Artist
Lenka Likarova
  Visual Effects Producer
Harrison Palmer
  Rigging Grip
Kristen Drewski
  Visual Effects Coordinator
Virle S. Reid
  Armorer
Jamie McCarter
  Software Engineer
Daniela Medeiros
  Set Designer
Edward J. Cox
  Rigging Gaffer
Tamás Vass
  First Assistant Director
Daniel F. Malone
  Marine Coordinator
Giselle Guevara
  Costumer
Katherine Soares
  Visual Effects Production Manager
Donald Reynolds Jr.
  Key Grip
Gábor Hegedüs Hege
  Assistant Director
Babak Bina
  3D Generalist
Daniel Perez
  3D Generalist
Malinda McGuire
  Visual Effects Coordinator
Kara Talley
  Set Costumer
Adam Bocknek
  Second Assistant Director
Jennifer Ramos
  Visual Effects Production Manager
Mark Stanger
  Animation
Carolina Serna
  Costumer
Devin Maggio
  Special Effects Supervisor
Sheldon Stopsack
  Visual Effects Supervisor
János Csáki Jr.
  Boom Operator
Lissette Schettini
  Art Direction
Antal Berger
  Rigging Gaffer
Mariah Fidalgo
  Ager/Dyer
Mark Carlile
  Lighting Technician
Gregg Perez
  Set Dresser
Veronika Szücs
  Art Department Coordinator
Miles Lauridsen
  Compositing Supervisor
Jamie Baglio
  Lighting Technician
Joseph Mason
  Lighting Technician
Shamus Baker
  Modeling
Sandra Doyle Carmola
  Assistant Art Director
Mike Moad
  Dolly Grip
Hajar Mainl
  Additional Script Supervisor
Pashelle L. Latino
  Costume Supervisor
Jorge Luis German
  Video Assist Operator
Dave Wilson
  ADR Mixer
Niall Lenihan
  Software Engineer
Jane Simons
  Visual Effects Coordinator
Mark Epstein
  Techno Crane Operator
Kristof Pataricza
  Assistant Art Director
Jeff LaBaume
  Lighting Technician
Louis Rendemonti
  Lighting Technician
Nathalie Rodriguez Martinez
  Travel Coordinator
Béla Rácz
  Electrician
Allison Cirbus
  Assistant Costume Designer
Ferenc Tóth
  Assistant Director
Gordon Tanner
  Graphic Designer
Joe Landry
  Second Second Assistant Director
Tom McHattie
  VFX Editor
Vincent Caudeville
  Senior Animator
Akos Menyhart
  Construction Manager
János Kovács
  Best Boy Grip
Hajós Péter
  Third Assistant Director
Szilvia Szisza Toth
  Set Decoration Buyer
Dóra Sárközi
  Visual Effects Coordinator
Woohyuck Eric Lee
  Modeling
Marco Revelant
  Modelling Supervisor
Caroline Monge
  Makeup Artist
John Paul Palmer
  Lighting Technician
Beau Bellanich
  Rigging Grip
Jenny Arango
  Costume Assistant
Vincent Giarratano
  First Assistant Director
Ben Lanning
  First Assistant Director
Joshua D. Quick
  Lighting Technician
Jeff Wallace
  Assistant Chief Lighting Technician
Yuanchen Jiang
  Title Designer
Evan Fraser
  Matchmove Supervisor


 Quotes

 New Quote

 Reviews


 New Review

SWITCH.

A century ago, man was just getting started with movies - heck, we even had sound and colour to explore. ‘Gemini Man’ deserves to be acknowledged for its purposeful step towards discovering what potentially lies out there for the future of movies and the capacity of the technology. Sure, the film finished and Michael and I both agreed the plot was safe and it really does stick to the “boy runs, meets girl and keeps running“ framework - but if you want to see it for more than that, at least respect it’s go-getter exploration of a new digital world.
- Lily Meek

Read Lily's full article...
https://www.maketheswitch.com.au/article/review-gemini-man-ang-lee-vs-ang-lee-has-technology-gone-too-far


msbreviews

If you enjoy reading my Spoiler-Free reviews, please follow my blog :)

Usually, I leave the technical aspects to the end of my reviews since story, characters, and the critical element of each genre (action in action flicks, comedy in comedies, and so on) are way more important. However, having in mind the whole marketing campaign surrounding Gemini Man's "groundbreaking innovations", I'll address them now. Even after sleeping on it, my experience in high frame rate still feels very … weird. In case you need some explaining, HFR adds a lot more detail to the image since it captures more frames per second hence making the image smoother, which can be extremely distracting. I always disable motion smoothing on my TV since I hate that feeling of knowing that "something's not right".

It doesn't have to do with speed, which is something people are going to wrongly state regarding this film. The action isn't faster, don't make the mistake of saying this. Since there's 2.5x more detail (24 FPS is the standard frame rate), movements become easier to follow, so there's the illusion of watching something faster than normal. Truth is, it just FEELS like it. When characters are just talking, and there's no action involved, it works because it simply looks better. However, the action sequences are very hit-and-miss. Some pieces look absolutely amazing, but it's clear this technology needs a few more years of experience to reach its full potential.

Scenes featuring car/motorbike chases, running, or shootings are stunningly filmed, but any hand-to-hand combat is frustratingly off-putting. Additionally, Ang Lee applies an excessive use of CGI to a lot of these moments, which makes some fights look incredibly absurd. HFR is not the only technical attribute people are going to discuss. That young version of Will Smith … Honestly, it doesn't really work for me. People who complained about The Lion King (2019) not being able to show animals emoting will surely hate this attempt of replicating a young Will Smith (if they don't, then Joker was right, society is indeed extremely hypocritical).

It's just like the action sequences with HFR: hit-and-miss. There are some genuinely mind-blowing scenes with medium shots of young Will Smith, and he looks 99.9% real. In these specific shots, it's impossible to tell the difference between the clone and a real version. However, it still fails to deliver this realism throughout the entire runtime. First of all, young Henry barely shows any emotions (except a brilliant crying moment), which is obviously meant to facilitate the VFX team's work. But even with his face completely still and empty of emotions, the eyes just look too doll-like. The eyebrows move strangely, and the forehead seems odd.

In the end, it all comes down to forgetting that it's a digital character and that almost never happens. I always felt like I was watching a blend of CGI, motion-capture, and whatever other technology they used to try to pull this off. In a few years from now, if Gemini Man gets a remake or some other movie tries to do something similar, I bet it will look near-perfect. Right now, it's more of a disturbance than an achievement. Put this together with the already not-that-good HFR, and we get a visually striking yet distracting film.

And if you thought the story would save it… It's pretty bad. Generic, predictable, and filled with almost offensive exposition. I would have to go through my reviews, but this is definitely one of the most exposition-heavy screenplays of the year. I lost count of the number of times a character starts ranting with the purpose of explaining something evident to another character. The worst thing a screenplay can do is treat the audience like they are 5-year-old children. The whole plot revolves around people asking someone else what happened, what's happening, and what's next. We already know from the trailer Will Smith is being hunted by a young version of himself, a clone.

Try to imagine how many ways you can tell someone there's an individual exactly like that person. Now, just lazily insert all of those sentences on a character's script and make it say them in a single scene. I'm sorry, but it's laughably bad. There are no surprises! It ends abruptly, utterly disregarding the only interesting plot point (still very predictable), by not developing it any further than one sequence. If it wasn't for the truly fantastic cast (Will Smith is always impeccable, Mary Elizabeth Winstead and Benedict Wong deliver great performances), Gemini Man would easily be one of the absolute worst movies of the year. Shoutout to Lorne Balfe's score, which is by far the technical aspect worthy of only compliments.

All in all, Ang Lee's attempt to deliver a groundbreaking film doesn't quite hit the mark. Honestly, it's still far from it. The 60 FPS HFR and the young version of Will Smith are occasionally jaw-dropping, but both technical aspects need years of improvement to be able to work seamlessly. As of now, these only serve as a frustrating distraction. However, the biggest problem with Gemini Man is its exposition-heavy screenplay, which besides treating the audience like dumb people, doesn't carry any sort of surprise or novelty. As generic and predictable as it could be. The unbelievably talented cast, a spectacular score from Lorne Balfe, and a few notable action sequences save this technological hit-and-miss from missing its target entirely.

Rating: C-


JPV852

Not at all bad and pretty watchable action-thriller, but also outside some of the effects and fight choreography (when you can see what's going on), not terribly memorable either.

Also, using 60 fps was a bit off-putting, especially with the daylight scenes making this look cheaper than it probably was, at times feeling like you're watching something online or even on 1x fast forward. Not entirely sure why Ang Lee went in that direction, but didn't work for me.

All in all, maybe worth a rental but certainly far from a best effort from both Lee and Will Smith. **3.25/5**


Gimly

The effects, sometimes, not all the time, but sometimes, look **great**. But boy oh boy was this dumb. And badly acted too, which is surprising. Like I've seen these people before, I know they are more than capable of the job, what was it about _Gemini Man_ that just caused them to throw all of that out the window? I assume it's the fact that everything about it was completely hollow and they couldn't bee bothered putting in the effort required to... Do their jobs well. Bet they didn't mind that paycheque though.

_Final rating:★★ - Had some things that appeal to me, but a poor finished product._



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