A Generational Clash in the World of Assassins: "Old Guy" Review
An Assassin’s Midlife Crisis
In Old Guy, director Simon West’s latest action-comedy, Christoph Waltz stars as Danny Dolinski, a boomer hitman grappling with a midlife crisis. The film opens with Dolinski in a London nightclub, surrounded by young women, living a life that seems more suited to a man in his prime than one nearing the end of his career. However, this glamorous facade crumbles when he’s forced to confront the harsh reality of his declining skills and the demands of his job. A hand injury has left him reliant on painkillers and unable to shoot with the precision he once had. His personal life isn’t faring much better, as he’s thrown into a deeper existential crisis during a meeting with his boss, who bluntly informs him that the company is “going younger.” Enter Wihlborg, played by Cooper Hoffman, a Gen Z prodigy who is not only his replacement but also his reluctant mentee. The generational clash between the two is meant to serve as the comedic backbone of the film, but it ultimately falls flat due to poor execution.
A Tired Trope with Little Spark
The "wise veteran and cocky newbie" dynamic is a familiar trope in action-comedies, and while it can be effective when done right, Old Guy fails to breathe new life into it. The generational differences between Dolinski and Wihlborg are meant to provide comedic fodder, but the script, written by Greg Johnson, relies on surface-level contrasts rather than genuine character development. For instance, Dolinski is portrayed as a hedonistic, aging playboy who loves to drink and party, while Wihlborg is a straight-laced, teetotaler who takes his job far too seriously. These traits are meant to create friction but instead feel like caricatures, lacking depth or nuance. The script also fumbles with more serious themes, such as the ethics of killing children, which is handled clumsily. Wihlborg’s line, “Where I come from, one does what one needs to do to survive. That includes killing a kid,” feels out of place and poorly developed, adding nothing to the story.
The Cast Struggles to Elevate the Material
Despite the talents of Christoph Waltz and Cooper Hoffman, both actors are let down by the script’s inability to justify their characters’ actions or provide meaningful interactions. Hoffman, who shone in Licorice Pizza, is particularly underserved here. Wihlborg’s claim to fame as a “hitman prodigy” is never convincingly explained, leaving audiences wondering how someone so young could be so skilled. The lack of chemistry between Waltz and Hoffman is another missed opportunity, as their characters’ forced partnership could have been a source of humor and tension. Waltz fares slightly better, bringing his usual charisma to the role of Dolinski, but even he can’t escape the script’s inconsistencies. The character’s eccentricities, such as his hedonistic lifestyle and moral qualms about killing children, feel disjointed and underdeveloped. The unnecessary introduction of Dolinski’s Irish mother only adds to the confusion.
The Action and Style Can’t Save the Story
Simon West, known for his work on Con Air, Lara Croft: Tomb Raider, and various Jason Statham vehicles, brings his signature action style to Old Guy. The film is well-shot, with plenty of shootouts and bullets flying, which might satisfy fans of mindless action. However, the stylish visuals and energetic pacing can’t compensate for the lackluster story and underdeveloped characters. The film’s attempts at humor are few and far between, and even the action scenes feel uninspired, failing to leave a lasting impression. The movie’s greatest strength is its cast, which includes Lucy Liu as Anata, the glamorous manager of a Soho karaoke bar that doubles as a front for a brothel. Despite her talent, Liu is given little to do aside from serving as Dolinski’s confidante and potential love interest. Her character’s subplot, which involves a date in Belfast that goes awry, feels forced and unnecessary, serving only to push her into Dolinski’s arms.
A Missed Opportunity for Depth
What’s most frustrating about Old Guy is its wasted potential. With a talented cast, stylish direction, and a premise that could have explored themes of aging, identity, and generational conflict, the film had the makings of something memorable. Instead, it settles for shallow humor and a predictable plot. The script’s inability to flesh out its characters or provide meaningful interactions between Dolinski and Wihlborg is a significant misstep. Even the ethical questions raised by their line of work are handled poorly, feeling like an afterthought rather than a central theme. The result is a film that, despite its polished visuals and action sequences, feels hollow and uninspired. It’s a shame, as both Waltz and Hoffman are capable of so much more with better material.
A Stylish but shallow Action-Comedy
Old Guy is a film that checks all the boxes for a modern action-comedy but fails to deliver anything meaningful or entertaining. It looks good, has a talented cast, and plenty of action, but none of these elements come together to create a coherent or engaging story. The generational clash between Dolinski and Wihlborg is a tired trope that could have worked with better writing and character development. Instead, it feels like a missed opportunity to explore deeper themes. Even fans of mindless action might find themselves checking their watches, as the film’s attempts at humor and drama fall flat. Old Guy is a reminder that style and star power alone aren’t enough to save a poorly written script. It’s a forgettable addition to the action-comedy genre, leaving audiences with little to remember once the credits roll.
