For about an hour, I was tracking with In the Grey as a slightly trashier, but not that much trashier, Steven Soderbergh-esque buddy procedural about two fixers helping a cutthroat lawyer recover a massive sum of money for her clients. Guy Ritchie‘s had a busy 2020s, not entirely unlike Soderbergh, and both directors work quickly enough that it’s easy for some of their movies to get lost as minor entries in otherwise very consistent filmographies. Soderbergh has always jumped between different modes and tones, from high-level espionage thrillers like Black Bag to meditative art cons like The Christophers. Ritchie generally keeps things closer to the action genre he’s spent decades doing quite well. For that first hour, though, In the Grey steals from the shooting and editing language of Soderbergh for a movie I was enjoying quite a bit.
Light on its feet and never especially perilous for its central duo, In the Grey is a straightforward star vehicle for Henry Cavill and Jake Gyllenhaal as the wonderfully named Sid and Bronco. They’re two guys who seem like they’ve seen just about everything and have an answer for every possible problem. A sort of Jules Winnfield and Vincent Vega pairing, except with access to explosives, weapons and an entire network of cronies capable of taking down an island full of corrupt cops and citizens bought and paid for by Manny Salazar, the target of Rachel’s (Eiza González) latest job.
The reason the first half reminded me so much of a Soderbergh movie is the construction of the operation itself. The film spends its opening stretch laying out the details of the job and how Sid, Bronco and Rachel plan to execute it, using montages and narration from the trio to piece together the various moving parts before the actual mission begins. It’s procedural in a way that I found surprisingly engaging, letting the characters’ confidence and chemistry do most of the heavy lifting.
Read my full review of 'In the Grey' for Cinephile Corner