Go back to a time when everything in life loomed so large.
It immediately reminds us of Goodfellas, and the comparison does this film no favors.
Outrageously complex to the point where we feel like it’s chasing its own tail.
Gemini Man’s central gimmick and familiar plot come off more as Photoshop Man than a compelling drama.
Details the mental decline of a social pariah who eventually develops a new identity to cope with his pain.
Zellweger inhabits Garland so fully that we quickly forget that there’s just an actor behind the makeup.
There’s just one major problem with the whole affair: it’s morbid.
Starts off with a dramatic opening scene that’s vintage Elton, but soon bogs down under the weight of an unmistakable identity crisis.
If you can stave off the initial boredom, the plot takes off like a rocket for the film’s second half.
Not only the satisfying conclusion to a two-movie story but also the perfect payoff to that 10-year journey on which moviegoers embarked.
It packs a lesson every bit as pertinent today as it was nearly five decades ago.