Walt Disney Studios Motion Pictures | Release Date: August 13, 2021 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
28
Mixed:
21
Negative:
2
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Critic Reviews
Intermittently witty, technically impressive, Free Guy sheds points in its second half, with pandering (Star Wars and Captain American references) and a series of numbing narrative loops, celebrating originality while practicing the opposite. And all of this with the usual alibi that none of this is meant to be serious.
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Free Guy is a cleverly programmed wedding of star (Ryan Reynolds) and subject matter, in a movie that's silly, handsome-looking and a great deal of fun, in roughly inverse proportion to how much one sweats the details. Traveling inside videogames doesn't always end well cinematically, but this "Guy" braves that familiar scenario and comes out ahead.
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But there’s something surprising about its approach to both blockbuster filmmaking and Ryan Reynolds star vehicles. It’s at once a Deadpool riff and the absolute opposite, a violent video game movie that’s about how fighting isn’t actually the answer. And what’s more, it commits to those lofty aspirations, couching a sweet little love story in the CG-addled mayhem of a Ryan Reynolds action-adventure flick.
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The PlaylistAug 5, 2021
Free Guy delivers a first hour that is outrageously entertaining, stuffed with gonzo action, goofy gags, star power, big ideas, and plenty of Easter Eggs for lovers of movies and video games. However, in its second half, the joyful journey is derailed by a slog of a side quest, falling short of the potential set-up.
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Movie NationAug 5, 2021
Free Guy is the equivalent of a pop earworm – something a little tinny and artificial that nevertheless worms its way into your brain, whether you want it or not. Which makes it rather fitting that the big emotional crux of the movie is actually based around a pop song. And that the film’s star is epitome of pop likability: smooth, digestible, inoffensive — yes, even with all the curses that roll off his tongue.
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IndieWireAug 5, 2021
Free Guy is nothing if not a movie that wins you over in spite of your better judgment and best defenses, but its “be the change you wish to see in the world” energy feels like a micro-transactional smokescreen for a corporate monoculture that only values creativity so far as it can be used to fool us into paying for things we already own.
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The target audience — people who waste their lives playing video games — might be amused by a movie about devices designed for the sole purpose of destroying everything in sight, but the serious audience the film industry wants to lure back to brick-and-mortar cinemas won’t find much substance here.
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