A new spy action movie made especially for Gal Gadot is coming to Netflix. It seems to be one of many child projects without illustrations or details, but it’s more solid than you might expect.
Great Hollywood stars are less and less involved in calculating the cinematic appeal of a film. They are still a fundamental piece of the puzzle to be grasped and inserted, but this is already a step towards a new phenomenology of the meaning of the event, marketing built on hype and, let’s look at the Barbie-Oppenheimer double case, as well as the meme. However, those who seem to still bet solely on the stars, Netflixwhich, in its logic of the amount of any – literally – cost and advertising, which is often not quite widespread, relies on big faces to count a few more millions of views, once the product appears on the main page of the platform.
Heart of stone belongs to this category of stellar projects (which in this case, Netflix does not produce directly, but distributes), arguing on the basis of the main character-translator, whose face occupies 90% of the poster and all advertising material – in a word, just as it happened once. And in this case it looks like this Gal Gadotwho belongs to this pool of actors (very popular actors such as Ryan Reynolds and Dwayne Johnson, whom he works with in red notice, but also Chris Hemsworth), with whom Netflix is associated with the sound of very green contracts. The reference genre, to which they are easily attributed, are adrenaline, action films, spy films, perhaps with a touch of irony that permeates the plot.
A plot that winks at a contemporary
Screenplay movie Greg Hand and Allison Schroeder for direction Tom Harper is no exception to this assumption. Stone (Gadot) is actually a rookie secret agent for the British MI6. Work with a team consisting of Parker (Jamie Dornan), Eat (Jing Lusi) and max (Paul Ready) to get information about the code of a supercomputer capable of hacking into any type of system and therefore upsetting the geopolitical and economic balance. It’s a broad enough narrative not to cause undue headaches, even comparable in some ways to the Mission: Impossible: Dead Reckoning Part One leitmotif and what will also be part of the second, with a large digital object in the center left dormant. .
Because, looking at this subtle and intangible threat, and also the reverse side of the film, in which Stone is actually an agent not for MI6, but for Charter, a supranational agency, Heart of stone in fact, it is intended to formulate some of the key points of the modern world. For all the highlights the role of subordination faced by states and their governmental emanationsturned into a sieve, an aged man in mothballs, into something that can be used as a nanny, subjected to more and more penetrating powers, threats and economic interests.
States Survive as Purely Geographical Entities travel and exchange scenes (the ones where the main characters of the film move, between the Alps, Lisbon, Africa, Iceland), but they are struggling to recognize themselves in positioning a new balance of power, where digital – and therefore technological and therefore transnational companies are transnational and do not know barriers and borders, which are already virtual for them.
Do things without getting upset
Best quality Heart of stone is to promote this concept without diving into theories that she cannot afford, but, above all, he remains low-key, clean and scholastic in taste in his spy thriller. It does everything it’s supposed to – traversals of the globe, shootouts, face flips, humorous lighting – without tipping the balance of the scales and thus bringing back entertainment that runs less on autopilot than what Netflix has sadly gotten us used to. this type of operation. The price to be paid is one that suits the purpose of the stellar project mentioned at the beginning, and therefore the many close-ups and intense looks to be devoted to the translator protagonist, who certainly does not break through the screen and does not shine with charisma at all.
But here comes the structure built around him, essential but solid, full of visual effects, for example, but more tolerant and directorially integrated than many of his much more plastic twins. Heart of stone it’s low-engagement entertainment, but with a bit more organization than the great sea that surrounds it.