"Freelance" seems more like an initial draft of a film than a polished piece of cinema. With a sizable budget of $40 million, the presence of familiar faces, and a premise that hints at potential, it's baffling how it never progresses beyond being a basic template, suited perhaps only for a brief stint on VOD platforms and limited theater screenings. What's even more perplexing is director Pierre Morel's ability to render usually captivating actors like John Cena and Alison Brie as mere shadows, their usually vibrant personalities rendered insipid amidst the bland milieu of the film’s action-comedy setting.
John Cena's character, Mason Pettits, sounds as if a machine churned his name out. A previous elite trooper, his backstory is peppered with clichés: a botched mission to lend him some emotional depth, and a turbulent marital relationship, played out with Alice Eve, that's meant to add complexity. Yet, it barely scratches the surface. The narrative gears into motion when an old superior, played by Christian Slater, ropes him into a mission. His task is to safeguard journalist Claire Wellington, brought to life by Alison Brie, as she ventures into the fictional lands of Paldonia to interview its head of state, President Juan Venegas (essayed by Juan Pablo Raba). Predictably, their journey isn’t smooth, and they find themselves in the midst of political chaos in a land that's sketchily painted, feeling more like a hastily assembled backdrop than a real, vibrant location.
The void in "Freelance" is almost tangible. It lacks genuine elements of romance, comedic brilliance, or even riveting action. While there are half-baked attempts to incorporate these components, they barely strike a chord. What's particularly jarring is the absence of the soul that binds these elements together. As an avid fan of well-executed rom-com adventures-“The Lost City” springs to mind-and someone who appreciates Cena's robust action roles and Brie's versatile filmography, enduring "Freelance" felt like a taxing ordeal. Essential elements that define its genre, such as the organic chemistry between the leads, meaningful stakes, and engaging action sequences, seem to be glaringly omitted. The entire movie feels like a skeletal structure awaiting flesh and life.
Morel, in the past, had impressed with his dynamic and pulsating "District 13" and further solidified his reputation as a force to be reckoned with in international action through "Taken." However, in "Freelance," the once visionary director appears to have lost his touch. The film is riddled with uninspiring cinematography, a glaring absence of cultural richness, and repetitive, uninspired action set-pieces. This diminishing enthusiasm seeps into the performances too, with even the lead actors appearing increasingly disengaged as the film trudges on. When a scene sees Brie's character enthusiastically telling Cena, "That was pretty damn cool," it’s hard not to be skeptical, thinking instead, "I'm not convinced."
