RELATED: Samara Weaving on ‘Snake Eyes’, Damien Chazelle's ‘Babylon,’ and Why She Loves Her Stunt Double The talent involved suggests you'd want to actually show what is happening, but that's just not how blockbuster action stories are told anymore. impossible to see and low-key nauseating, all obscured shaky-cam close-ups and rapid-fire cuts, like a camera placed directly in a dryer's tumble cycle. Joe's most kinetic martial artist should at least be carried by its action, but Snake Eyes' fight scenes are framed in the current Hollywood house style, i.e.
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Director Robert Schwentke has churned out a franchise-starter origin story so by-the-books it has a plot revolving around, and please stop me if you've heard this before, a magical glowing orb. But Snake Eyes isn't worthy of his or his co-stars' charms. If there's a benefit to Snake Eyes existing, it's to serve as proof that Golding is the caliber of leading man he's been promising to become ever since wooing the world in Crazy Rich Asians. Joe, who shuffles aside a few pieces of gear to carry most of this movie on his back. That starts at the top with Henry Golding as the titular G.I. My first thought walking out of Snake Eyes was a shallow one, but in the interest of honesty I'll lay it down first and explain later: " How dare a cast that hot be in a movie this bad." The thing is, I don't just mean "hot" in the sense of conventional attractiveness-although, make no mistake, this entire cast is deeply attractive-as much as I mean Snake Eyes is filled with a young class of dictionary-definition movie stars, presences you put on posters and billboards to sell tickets, the rare ones whose magnetism, charisma, and genuine talent make the price of admission worth it.