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'Ghost' review: Chris Evans and Ana de Armas mix romance with secret agent antics in Apple TV+'s frothy action-adventure

If you find yourself craving a meal after appetizers Ana de Armas a great meal as a CIA agent MealNo Time to Die, Apple TV+ has met your needs. The Oscar-nominated blonde survivor plays another unflappable U.S. intelligence agents, who are as handy as her fists as her guns, are in Ghosted In, rekindle her passion Knives Out with Chris Evans, a farmer is unknowingly dragged into a creepy globe-trotting mission in the fun Water Fishing mode.

Dexter Fletcher’s action-adventure rom-com doesn’t break the mold, but it’s fun and flashy enough to attract a large audience.

Apple and

Skydance did throw some slick production The resources in , from magnetic clues and well-crafted action scenes, all the way to big-name cameos in the form of humor. The script was written by seasoned Spider-Man team Chris McKenna and Erik Sommers with Deadpool effort) writers Rhett Reese and Paul Wernick.


Bottom line Quality product.

release date
: Friday, April 21Throwing
: Chris Evans, Ana de Armas,

Adrien Brody , Amy Sedaris, Tim Blake Nelson, Tate Donovan, Mike Mo

Director : Dexter Fletcher screenwriter: Rhett Reese, Paul Wernick, Chris McKenna, Eric Summers Rated PG- 13, 1 hour56 minute

If this movie ends up in the Generic pool with other middling streaming originals like Netflix Red Notice or The Gray Man(The latter is also used for Evans and de Armas) probably won’t trouble the target audience.

It’s part of the voracious streaming platform machine – they need constant feeding, but no matter how big the attempt to replicate studio blockbusters, Loud and slick, they almost always end up being one-time entertainment. The absence of a dramatic splash usually only ensures the most fleeting pop culture imprint. They’re a commodity, and in this case probably far less durable than most Apple products. This includes Apple CarPlay, which is highlighted in the opening scene.

That said, Ghosted serves its purpose. It’s enjoyable enough, were it not for the exhilarating thrill ride that Fletcher’s breathless pacing and steady vehicle chases, gunshots, explosions and mano a mano debris in distant places would have you believe.

Sadie of De Armas and Cole of Evans met the lovely person at a farmers market in DC when she wanted to buy potted begonias but was in He refused to sell her work after she admitted she traveled too much and watered it as needed. He suggests she’d be better off with a no-maintenance cactus, which leads to a joke about Cole’s poverty and Sadie’s prickly loneliness.

Despite their initial friction, they go on an impromptu date. They soak up picturesque Georgetown and catch the Exorcist’s steps before entering the National Gallery. But neither Sadie’s peak athleticism nor her basic taste for painters (“I love Monet!”) lead him to suspect that she might not be telling the truth about her work as an art curator. After a long day of walking and talking over aimless vocals, they collapse on the bed and Cole is instantly smitten.

Back the next day at his parents’ farm, Cole’s mother (Amy Sedaris) and father (Tate Donovan Wan) all seem excited that he’s met a woman he thinks might be “the one.” His playful sister (Liz Broadway) predicts that he’ll scare her away quickly with his usual clingy manner, and when his texts and emojis to Sadie go unnoticed, she seems right. But Cole realized he had left the asthma inhaler in Sadie’s backpack, and a tracking app on the medical device allowed him to track her to London.

Fact that his condition is barely mentioned again despite the series of physical torture that would kill most asthmatics, It’s just one of those script designs that’s best ignored. Likewise, Cole helps set the stage by musing, “I think the least travel you plan is the most travel for you.” This is coming from someone who has never left the country.

Cole had been against unplanned trips before, but when his mum suggested he should just show up in London to surprise Sadie (“It would It’s romantic!”), and he did. It proves ill-advised when he follows her to Tower Bridge but is kidnapped by a gang of thugs who are convinced he is the CIA golden boy code-named The Taxman. (You just know that Apple popped up with the Beatles song, which we’re going to hear at a critical moment.)

Tim Blake Nelson, fuck with a chewy Russian accent) was about to deploy the carnivore to extract the code from Cole, who was panicked and overwhelmed when a gun-toting Sadie rushed in to save him and take out a small group of villains. She was the real The taxman, uh, is overwhelmed by his romantic surprises and annoyed by the responsibility of having to keep him safe while she eliminates the bad guys.

This brings them back to their opposing banter immediately, especially during one of the film’s pivotal roller-coaster action sequences, when a ride in a colorfully decorated public Car, comes under attack as it slopes around Pakistan’s mountainous Khyber Pass.

Fletcher was brilliant in high-speed chases, but it was the spark that de Armas and Evans produced that kept it alive. Sadie treats herself like a seasoned super spy and is never afraid, even in one-to-many situations. Cole fumbles toward the occasional winning weapon, at one point using a gag gift cactus as a weapon. The script doesn’t do much more than break down their characters—he uses his parents’ farm as an excuse to escape life; she uses her job to avoid getting close to anyone—but the charismatic lead sells it.

Sadie’s unsuccessful attempt to get Cole home is due in part to Leveque (Adrien Brody, a notorious A former French intelligence officer turned arms dealer who still believes he is the tax collector. Leveque and his main follower, Wagner (Mike Moh), have acquired Aztec, a chemical and biological weapon capable of destroying the East Coast of the United States. However, This would be of no use without the lost code and their buyers are getting impatient.

Plot moved from Pakistan to An island in the Arabian Sea, then back to Washington, D.C., where Sadie got into trouble as a scoundrel. But the CIA top brass (Anna Devier Smith) decided they needed to keep Cole around as bait, especially when he When knowledge of the crop proves useful in deciphering a mystery. The culmination of a spinning loop high in the Washington skyline is a reminder of why dining at a revolving restaurant is rarely a good idea.

Aside from the fact that the celebrity face turned up as a bounty hunter and ex-lover still holding the torch for Sadie, nothing particularly surprising happened. But Ghosted is engaging on his own undemanding terms, never lingering on numbers, and tempering the violence with a light, playful tone. It also means there is never any real danger. Busy by three Fueled by a team of editors and a string of hard-hitting needles (The Knack’s “My Sarona” in Pakistan? Sure, why not?), the film is fast-paced popcorn entertainment with a luxurious protagonist. It goes down painlessly, even though you might forget about it the moment it’s over.

As she was in As demonstrated in Till the Dead , de Armas can infuse an action hero’s shenanigans with a sexy insouciance and appealing personality, while Evans clearly enjoys himself, downplaying his Handsome Captain America qualifies as a baby in need of saving. Naturally, Cole gradually finds his mojo even in the narrowest of places, while Sadie rethinks her strict “duty to men” policy, And came to appreciate his romantic spirit. Who wouldn’t want these two together?

Full credits 1235214391

Distribution: Apple TV+
Production companies: Apple Original Films, Skydance Media Cast: Chris Evans, Anna De Armas, Adrien Brody, Amy Sedaris, Tim Blake Nelson, Tate Donovan, Mike Moh, Marwan Kenzari, Anna Deavere Smith, Lizze Broadway, Mustafa Shakirdirector: Dexter Fletcher Writers: Rhett Rees, Paul Wernick, Chris McKenna, Eric Sommers Producer: David Ellison, Dana Goldberg, Don Granger, Chris Evans, Jules Daly, Paul Wernick, Rhett Reese Executive Producer: Donald J. Lee Jr., Brian Bell, Ana de Armas Director of Photography: Salvatore Totino Production Designer: Claude Paré

Costume Design: Marlene Stewart Music: Lorne BalfeEditors: Chris Lebenzon, Jim May , Josh Schaeffer Visual Effects Supervisor: Mike Wassel Casting: Mindy Marin Rated PG-13, 1 hour56 minute

1235214391 THR Communications

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