Snake Eyes: GI Joe Origins (2021)

Director: Robert Schwentke

Starring: Henry Golding, Andrew Koji, Samara Weaving

Primary genre: Superhero

Secondary genre: Action

The “GI Joe” franchise is a curious beast. Following the vast (and unexpected) success of Michael Bay’s “Transformers” (2007), Paramount geared up to adapt as soon as possible another Hasbro based property - the (in)famous Joes, a counter terrorist unit that battles the Cobra organization. Stephen Sommers (“The Mummy“ (1999), “Van Helsing“ (2004)) was tasked to bring their gun-ho world in life in 2009’s “GI Joe: Rise of Cobra” resulting in lukewarm reception followed by a lackluster sequel (“GI Joe: Retaliation”) starring Dwayne Johnson. However, Paramount attempted to kickstart this franchise after almost a decade in similar fashion to the first “Iron Man” (2008) by setting up an origins film which could become the base to launch a larger cinematic universe.

Focusing much on a PC checklist - we can’t have a white guy being a ninja even if this is the main point of his conflict with his frenemy Storm Shadow - and in your face world building, the film forgets what makes an action film tick. The story moves in an anemic pace employing the traditional trope of revenge without panache and emotional stakes. “Snake Eyes” has barely any growth throughout the film and any characterization comes in the form of set pieces that have been lifted from better films: the opening sequence is a carbon copy of Lucy Liu’s introduction in “Kill Bill Vol 1” (2003) while the adult “Snake Eyes” is fighting in illegal pits straight out of Jet Li’s “Danny the Dog” (2005).

Yet its biggest problem remains the titular character himself. Portrayed unconvincingly and unsympathetically by the miscast Henry Golding (who takes hilarious fighting poses at every turn) as an egoistic loner with an unapologetic behaviour, does the fan favourite ninja great injustice alienating the audience in the process. The script does not offer an explanation about his skills or abilities that magically appear when the script requires it as a means of convenience. The rest of the cast tries to do what they can with the limited material and the banal exposition with Andrew Koji coming closes to an actual performance which makes me wonder whether we should have had a “Storm Shadow” film instead. The inspired casting of Samara Weaving (“Scarlet“) is a waste as she is barely in the movie while her scene with the Baroness (played with an OTT delivery by Ursula Corbero) is too on the nose for girl power.

Robert Schwantke (“Red” (2010)) despite having shown some early promise, fails to make good use of the gorgeous Japanese locations (complemented by sharp production design), the native cast and the vibrant cinematography of Bazan Fazelli. His direction feels boring failing to capture emotional or gripping action sequences despite the use of Kenji Tanigaki, the famous stunt coordinator and fight choreographer of the “Rurouni Kenshin” (2012 - 2021) film series. His decision to film poorly the PG-13 action in shaky close ups with CGI enhancements (i.e., digital Katanas) is eye rolling, in an era where films like “John Wick” (2014) and “Mad Max: Fury Road” (2015) are critically acclaimed within the genre while the lack of violent impact makes any sequence with swords to feel like a child’s play.

While there are some moments that you think that the film might go the extra mile (e.g., a stand off on top of a car carrier is intriguing, casting Iko Uwais as a Japanese master!), these are concluded underwhelmingly before they even start with the final confrontation feeling like a leftover reel.

Relying heavily on world building, and the inevitable sequel bait, “Snake Eyes” is another film that thinks-a-franchise first and crafts-an-actual-film second. Now an undisputed a box office bomb with its sequel hopes squashed, this is the latest victim of the Hollywood trend that sees films that bear no structure or actual stakes but seeds for future entries.

“Snake Eyes” lives up to its name in terms of cinematic entertainment. A pointless, shallow attempt to reintroduce the GI Joe brand and it seems that checking the PC box, really did not matter at all.

Colossal disappointing reboot

+Interesting production design/cinematography

+Real japanese locations

-Wasted premise

-Poor editing/filming

-Too many action poses

-Feels like a TV movie

-Wasted cast

-Golding miscast

-PG-13 action

-No emotion