As a seasoned film critic with decades of experience under my belt, I must say that “Wolfs” is a delightful throwback to the buddy movies of yore, albeit with a modern twist. The chemistry between Clooney and Pitt is undeniably reminiscent of the classic pairings we’ve come to love, but with a dash of their unique charm that only these two Hollywood heavyweights can bring.
The movie-stars-are-over era has been overstated. If audiences are now drawn to movies not for stars but for franchise concepts, I’m not sure how to fit the career of Timothée Chalamet into that; Emma Stone and Zendaya would also like a word. That said, when you watch George Clooney and Brad Pitt in “Wolfs,” a clever, airy, winningly light-fingered and debonair action comedy about two rival fixers who have to learn to work together, you’d be forgiven for describing the sensation you feel as movie-star nostalgia.
For decades now, these two have been shining brightly since the ’90s, and there’s no denying their age – not even by themselves. Yet, they manage to make maturity the new trendier than ever. Clooney stands out as a unique actor who has always carried his gray hairs with an air of timeless elegance (you’d be surprised how off-putting his darker locks from the past appear), and at 63, sporting a silver beard and hair that’s not just two-toned but veined, he exudes a refined wine-like allure. As for Pitt, seemingly still a youngster at 60, he embodies agelessness itself.
However, as “Wolfs” clearly shows, the striking appearance of these two characters wouldn’t matter much without their confident demeanor to match. It seems like the creators of this film intended to teach us all a lesson in style and finesse.
In New York City’s luxurious penthouse hotel suite, I find myself in a state of turmoil as Margaret (Amy Ryan), a dedicated district attorney, appears to be in distress. A young man, dressed only in his underwear and surrounded by shattered glass, lies next to the bed, seemingly unconscious. The events that led to this chaos unfolded when we crossed paths at the hotel bar, eventually ending up in this very room where an unfortunate accident occurred: he was leaping on the bed, lost his balance, and crashed through a table made of glass. As I grapple with the unexpected predicament, I reach for a number in my contacts that I’ve never had to call before – it belongs to a fixer, skillfully portrayed by George Clooney. Over the phone, his calm yet commanding voice echoes the unyielding poise of Michael Clayton.
Soon enough, I find myself greeting Clooney at my suite, as he slides on his blue surgical gloves, urging me to relax with a strong drink and not fret, because he’s got everything under control. He assures me he’ll erase all traces of the issue. Things proceed smoothly until a short while later, when there’s a knock at the door, and who steps in but Pitt, also sporting blue gloves. He too is a fixer. It seems someone tipped off the hotel owner, Pam (whose voice we only hear over the phone), who caught wind of the situation through hidden security cameras. She’s just as eager as I am to eliminate this mess from her hotel, as she wants to avoid any scandal that could potentially taint her establishment.
In this story, neither of the two characters – one portrayed by George Clooney and the other by Brad Pitt – has a named identity. Clooney’s character is meticulously precise, using proven techniques, and he strongly believes that no one else can perform his tasks as effectively. However, when Pitt’s character, unnamed and simply referred to as “Pam’s man,” enters the scene, he disrupts this certainty. Clooney seems to regard Pitt as an imposter, a novice in the world of problem-solving, but in reality, both characters are highly skilled at… let’s just say, resolving issues.
In the movie “Wolfs,” directed by Jon Watts, known for his work on the Tom Holland Spider-Man films, the tension between Clooney and Pitt is relentless and reminiscent of fast-paced comedy. It’s not merely a dislike; they are both determined to prove their superiority in their unique skills. Their constant banter isn’t just about insults, but rather a deadly competition to demonstrate the highest level of coolness or “fixer zen.”
Clooney and Pitt had this kind of chemistry before, in “Ocean’s Eleven,” where the unstated joke was that though they were rivals for Julia Roberts’ affection who kept trying to top each other, it was in the very edginess of that competition that they found their bond. In “Wolfs,” Clooney and Pitt revel in the crack timing, in the I-truly-do-not-like-you obscene banter, that makes even the most casual insult take wing. As the movie goes on, these two will learn to work together, but the film’s anti-grammatical title is saying that each one is a lone wolf. They have no desire to mesh like wolves. The joke, of course, is that from their stylish leather jackets to their secret Mr. Big to their reading glasses, they’re kind of the same man.
George Clooney’s character has a knack for maneuvering bodies onto hotel carts, as seen when he and another character take an elevator down to the parking garage to place the body in the trunk of his car. For a time, the movie is filled with strategic moves and step-by-step procedures, resembling an impromptu “Ocean’s Duet.” However, things take an unexpected turn (please be aware of potential spoilers, although this happens relatively early) when the deceased person doesn’t stay motionless.
As a movie enthusiast, I’d rephrase it like this: “Wolfs” transforms into a heart-warming buddy flick with an unpredictable third wheel character. Austin Abrams, known for his roles in “Euphoria” and “The Walking Dead,” steps into the shoes of this intriguing individual, affectionately referred to as ‘Kid.’ He’s a chatty, eccentric character, reminiscent of Timothée Chalamet with a touch of young Sam Rockwell’s charm. (There’s even a scene where he wears a dress as a shirt, very much in the Chalamet style.) The crux of the story revolves around Kid, who happened to have four bricks of heroin, valued at $250,000, tucked away in his backpack. The question is, how did he end up with them? It turns out he was helping a friend, but the main plot thickens as the fixers must trace the origin of those drug packages and recover them.
Eventually, it becomes clear that this situation isn’t just about solving problems, as one might have imagined in an ’80s sequel of “Stakeout”. Instead, the narrative shifts towards a parody of crime thrillers. Despite this change, the atmosphere remains light-hearted due to George Clooney and Brad Pitt continually poking fun at each other throughout their collaboration. For instance, Clooney’s character is shown to enjoy concocting elaborate conspiracy theories to unravel mysteries. A standout moment is a party at a nightclub where they must convincingly act as strangers to dodge the anger of an Albanian drug lord. The final scene in a diner offers a witty take on impending doom.
After watching the premiere of “Wolfs” at the Venice Film Festival, a friend inquired whether I would judge this movie, which is likely to be streamed more than it’s shown in cinemas, differently due to its streaming platform. My response was negative, although it’s an intriguing thought, and one could certainly evaluate it from both perspectives. Compared to the majority of content made for streaming, “Wolfs” exudes an air of sophistication, charm, and elegance that feels almost antiquated (in a positive manner). However, as a traditional film, destined for theater screenings, it ultimately proves to be a competently crafted trifle, nothing more or less. The buddy movie inherently carries an undercurrent of a platonic love story, but in this case, the bond between Clooney and Pitt is developed to such an extent that it somewhat undermines the film’s central premise: that a fixer should be devoid of emotions. Despite their impeccable performances, these characters almost seem to don disguises by the end, making you wonder if they haven’t lost some of their genuine selves in the process.
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2024-09-01 23:17