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Adrien Brody plays an arms dealer who puts a price on the protagonists’ heads for control of a lethal biochemical weapon in Dexter Fletcher’s high-octane spy flick.

By David Rooney

David Rooney

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Chris Evans and Ana de Armas in Ghosted.

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If, ultimately, the film falls into a generic gene pool with other middling streamer originals like Netflix’s Red Notice or The Gray Man (the latter also a vehicle for Evans and de Armas) that probably won’t trouble the target audience.

It’s part of the machinery of voracious streaming platforms — they require constant feeding, but no matter how big and noisy and slick the attempts to replicate the studio blockbuster, they almost invariably end up being disposable entertainment. The absence of a theatrical splash generally ensures only the most ephemeral pop-culture imprint. They’re a commodity, in this case probably far less durable than most Apple products. That includes the Apple CarPlay prominently featured in the opening scene.

That said, Ghosted serves its purpose. It’s enjoyable enough, if not quite the rollicking thrill ride that Fletcher’s breathless pacing and steady barrage of vehicular chases, gunfire, explosions and mano a mano scraps in far-flung locations would have you believe.

Despite their initial friction, they go on an impromptu date. They soak up picturesque Georgetown and race up the Exorcist steps before taking in the National Gallery of Art. But neither Sadie’s peak athletic condition nor her basic taste in painters (“I love Monet!”) make him suspect she might not be telling the truth about her job as an art curator. At the end of a full day and night of walking and talking slathered in random vocal tracks, they fall into bed and Cole is instantly smitten.

Back at his parents’ farm the next day, Cole’s mother (Amy Sedaris) and father (Tate Donovan) both seem thrilled that he’s met a woman he thinks might be “the one.” His teasing sister (Lizze Broadway) predicts he’ll scare her off fast with his usual clinginess, and when his stream of texts and emojis to Sadie are ignored, she appears to be right. But Cole realizes he left his asthma inhaler in Sadie’s backpack and a tracking app attached to the medical device allows him to trace her to London.

The fact that his condition is barely mentioned again despite him being put through a series of physical ordeals that would kill most asthmatics is just one of those screenplay contrivances it’s best to ignore. Likewise, Cole helping out with the foreshadowing by musing, “I think the trips that you plan the least are the ones that give you the most.” This from a man who is revealed never to have left the country.

Just as eager torturer Borislov (Tim Blake Nelson, working a chewy Russian accent) is about to deploy flesh-eating bugs to extract a passcode from Cole, who’s as panicked as he is bewildered, gun-toting Sadie bursts in to rescue him and take out a small army of villains. She’s the real Taxman, duh, and she’s underwhelmed by his romantic surprise and annoyed by the liability of having to keep him safe while she mows down bad guys.

That shifts them instantly back to antagonistic banter, notably throughout one of the film’s key roller-coaster action sequences, aboard a colorfully decorated bus, under assault as it careens around the mountainous Khyber Pass in Pakistan.

Fletcher conducts the high-speed chase more than competently, but it’s the sparks generated by de Armas and Evans that keep it buoyant. Sadie handles herself like a seasoned super-spy, never scared, even in one-against-multitudes situations. Cole bumbles his way to the occasional winning move, at one point using a gag-gift cactus as a weapon. The script could hardly be more schematic in their character breakdowns — he uses his parents’ farm as an excuse to avoid life; she uses her work to avoid getting close to anyone — but the charismatic leads sell it.

The action shifts from Pakistan to an island in the Arabian Sea and back to D.C., where Sadie gets into trouble for going rogue. But CIA brass (Anna Deavere Smith) determines that they need to keep Cole around as bait, particularly once his knowledge of crops proves useful in deciphering a mystery. The spin-cycle climax high above the Washington skyline is a reminder of why dining in revolving restaurants is rarely a good idea.

Aside from the famous faces turning up as bounty hunters and a former lover still carrying a torch for Sadie, nothing terribly surprising happens. But Ghosted is engaging on its own undemanding terms, never lingering over the body count and cushioning the violence in a light, playful tone. That also means there’s never much sense of any real danger. Whipped along by a team of three busy editors and a string of punchy needle drops (The Knack’s “My Sharona” in Pakistan? Sure, why not?), the movie is pacy popcorn entertainment with deluxe leads. It goes down painlessly, even if you’ll likely forget it the minute it’s over.

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Chris Evans and Ana de Armas in Ghosted (2023)

Cole falls head over heels for enigmatic Sadie, but then makes the shocking discovery that she's a secret agent. Before they can decide on a second date, Cole and Sadie are swept away on an ... Read all Cole falls head over heels for enigmatic Sadie, but then makes the shocking discovery that she's a secret agent. Before they can decide on a second date, Cole and Sadie are swept away on an international adventure to save the world. Cole falls head over heels for enigmatic Sadie, but then makes the shocking discovery that she's a secret agent. Before they can decide on a second date, Cole and Sadie are swept away on an international adventure to save the world.

  • Dexter Fletcher
  • Rhett Reese
  • Paul Wernick
  • Chris McKenna
  • Chris Evans
  • Ana de Armas
  • Adrien Brody
  • 387 User reviews
  • 106 Critic reviews
  • 34 Metascore
  • 1 nomination

Watch Now on Apple TV+

  • Cole Turner

Ana de Armas

  • Sadie Rhodes

Adrien Brody

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Mustafa Shakir

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Anthony Mackie

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John Cho

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Sebastian Stan

  • Claudia Yates

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The Gray Man

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  • Trivia Although Scarlett Johansson was originally cast in the lead role in 2021, which would have marked a reunion with Chris Evans after sharing the screen together in over nine movies (most of them in the Marvel Cinematic Universe), Johansson dropped out due to scheduling conflicts and Ana de Armas , another of Evans' frequent collaborators, replaced her. They starred together in Knives Out (2019) and The Gray Man (2022) .
  • Goofs A large part of the film takes place in Pakistan, but all the cars there have steering wheels on the left as in the US. Pakistan, which is a former British colony, drives on the left and the cars have steering wheels on the right side of the car.

Sadie Rhodes : Cole! Are you comfortable?

  • Connections Featured in This Morning: Episode #35.46 (2023)
  • Soundtracks Feel It Still Written by Eric Howk , Robert Bateman , Zachary Scott Carothers (as Zachary Carothers), Jason Sechrist , Georgia Dobbins , William Garrett , Freddie Gorman , Zoe Manville , John Baldwin Gourley (as John Gourley), John Hill , Brian Holland , Kyle O'Quin , Asa Taccone Performed by Portugal. The Man Courtesy of Atlantic Recording Corp. By arrangement with Warner Music Group Film & TV Licensing

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  • Apr 21, 2023
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Roger Ebert once famously wrote in his Glossary of Movie Terms that no good movie had ever been made since 1977 featuring a character with the first name of Cole. (Inexplicably, he went on to make an exception for the decidedly not-good “Days of Thunder.”) I cannot say for sure whether that rule has held up over the years, but I suspect if he had lived to see “Ghosted,” he might have elected to finally retire it once and for all on the basis that there was no worse example that could ever come along. This film is so smug and self-satisfied that you can practically feel the contempt everyone involved with its production has for its audience.

Our Cole ( Chris Evans ) is a farmer/agricultural historian who is perpetually unlucky in love because he tends to get too intense too early and scares people off. He meets the mysterious Sadie ( Ana de Armas ) at a farmer's market, and the two seem to hit it off famously throughout a long date that covers everything from karaoke to a visit to the famous steps from " The Exorcist ." Alas, when he tries to contact her the next day, she ignores his incessant texts and emojis. Thanks to a decidedly lame plot construct, he figures out that she is now in London, and, in what he considers to be a grand romantic gesture and not a massive red flag, he decides to fly over there and surprise her. This is supposed to be charming and not at all creepy, with even his parents ( Tate Donovan and a spectacularly wasted Amy Sedaris ) urging him on.

After arriving, he thinks he's tracked her down but is immediately kidnapped and taken to the lair of a torturer named Borislov (Tim Blake Nelson ), who believes Cole is someone known as The Taxman who has crucial information that he hopes to extract via the use of murder hornets. Before that can happen, he is rescued by a mysterious figure who turns out to be ... Sadie. It turns out that she is actually a CIA agent pursuing a master criminal named Leveque ( Adrien Brody ), who is attempting to acquire the codes for a spectacularly deadly new super weapon so that he can sell it on the black market. These codes are thought to be in possession of The Taxman, and since everyone thinks that Cole is the Taxman, he becomes the target, with Sadie using him as bait to stop the bad guys for good. This leads them on an international journey to stop Leveque and potentially save the world while bickering and bantering between the incessant gunshots, explosions, and car chases that comprise most of the plot.

You may recall—though you will be infinitely happier if you don’t—last year's “ The Gray Man ,” an incredibly lousy and thoroughly unmemorable load of international espionage claptrap that was like watching someone else playing a bad video game. That film happened to co-star Evans and de Armas, and I can’t help but wonder if they made a secret pact between them to try to find another such vehicle that was even more vapid and forgettable. Mission accomplished. There has been a lot of talk lately about artificial intelligence programs being used to create art and the potentially disastrous repercussions that might occur as a result. Although “Ghosted” has no fewer than four people credited with the screenplay and a director, Dexter Fletcher , whose previous “ Rocketman ” was one of the better music biopics of recent years, it feels as if it was created by just such a program, one evidently focused on following tired algorithms than anything remotely resembling genuine creative inspiration.

The aforementioned screenplay is little more than a half-assed rehash of “ True Lies ,” “Mr. and Mrs. Smith,” “ Knight and Day ,” and the like that brings absolutely nothing of interest to the table. "Ghosted" is essentially a laundry line connecting its interchangeable action beats with tired characters, lazy plotting, and a complete lack of wit, humor, excitement, thrills, or basic coherence. Those aforementioned action sequences are certainly big and noisy, but Fletcher shoots them in such a bland, disengaged manner that he makes the Russo brothers look like the Coens in terms of stylistic flair. In what I can only assume was an effort to try to distract viewers from the formulaic proceedings, the film throws in a bunch of familiar faces in brief cameo appearances, which prove to be little more than a distraction from a movie that's pretty much a distraction all by itself.

However, the worst aspect of “Ghosted” is the virtually nonexistent chemistry between Evans and de Armas. Both are good actors and undeniably charismatic performers, but they fail to click here on any level. Watching the two struggle to strike sparks with such substandard material is genuinely painful. This would be bad enough, but the film inadvertently underlines this flaw with a running gag in which other characters comment that they should get a room because the sexual tension between them is off the charts. Based on the available evidence, this may be true, but, unfortunately, it is off the charts in the wrong direction—there was more palpable heat between the two of them in “ Knives Out ” than there is at any point here, and they weren’t even necessarily trying in that one.

“Ghosted” is a tedious exercise in sheer greed and laziness that presumes if enough money and famous faces are tossed into the mix, no one will notice, or at least mind, the utter vacuousness of the enterprise. By a bit of happenstance, I wound up seeing this film immediately after watching “Are You There God? It’s Me, Margaret.” and was in an uncharacteristically good mood as a result of that genuinely wonderful movie. However, by the time “Ghosted” finally dragged itself across the finish line—complete with threatening future installments—that sense of good cheer and hopefulness regarding the possibilities of cinema had been completely eradicated. At least the aforementioned “The Gray Man” had the dignity to be completely forgettable—honestly, before I mentioned it, did you even recall that it existed? But I have a terrible feeling this one is going to stick in your mind for a long time after you see it, no matter how hard you may try to erase it.

On Apple TV+ now.

Peter Sobczynski

Peter Sobczynski

A moderately insightful critic, full-on Swiftie and all-around  bon vivant , Peter Sobczynski, in addition to his work at this site, is also a contributor to The Spool and can be heard weekly discussing new Blu-Ray releases on the Movie Madness podcast on the Now Playing network.

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Ghosted (2023)

Rated PG-13 for sequences of strong violence/action, brief strong language and some sexual content.

116 minutes

Ana de Armas as Sadie

Chris Evans as Cole Riggan

Adrien Brody as Leveque

Mike Moh as Wagner

Amy Sedaris as Mom

Tim Blake Nelson as Borislov

Tate Donovan as Dad

Lizze Broadway as Mattie

Marwan Kenzari as Marco

  • Dexter Fletcher

Writer (story by)

  • Rhett Reese
  • Paul Wernick
  • Chris McKenna
  • Erik Sommers

Cinematographer

  • Salvatore Totino
  • Chris Lebenzon
  • Josh Schaeffer
  • Lorne Balfe

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Ghosted review: Chris Evans and Ana de Armas’s chemistry must have been lost in the post

A miscast lead and a host of gratuitous celebrity cameos help sink a leaden action romcom, article bookmarked.

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There is a lesson Hollywood can learn from Apple TV+’s action romcom Ghosted : if you want to tell a story about a schlub who falls for a spy, don’t cast Captain America as the ordinary one. It’s just asking too much of your audience. You can’t present us with Chris Evans as a guy named Cole Riggan (surely churned out by the “big, tough manly man” name generator) and then argue he’s the polar opposite to Ana de Armas ’ ass-kicking, CIA operative Sadie. When Evans falls, he doesn’t flail his limbs about like us mere mortals. When he has to pose as a legendary agent and break bread with the enemy (Adrien Brody’s Leveque), there’s a smirk on his face that reads as a little too confident, a little too in control. You don’t get the sense this guy even sweats.

Evans spent so many years flexing his muscles and his charisma in the Marvel Cinematic Universe, and was so at home in the role of a chivalric superhero, that it’s almost as if he can’t help but slide back into that persona whenever the action kicks in. It’s wholly at odds with the sort of film that director Dexter Fletcher is trying to make – which is not to say that Evans is necessarily the source of the film’s faults. Cole is so sparsely characterised that all he can really do is state his character traits out loud. “I’m a farmer!” “I don’t like wearing suits!” There’s nothing believable about him.

Cole, supposedly, is a guy who’s never left the country (it’s weird how this film treats a lack of international travel as a dating red flag), and who’s habitually too needy and too smothering in his relationships. At a market stall he meets Sadie (De Armas back in No Time to Die and The Gray Man mode, except this time she has a bad wig), whose job necessitates that she discards all long-term commitments and emotional investments. The two of them argue about how often you should water houseplants, though they’re really arguing about how much relationships can thrive without constant attention.

They have a single date and Cole is shocked when his subsequent texts go unanswered (hence the film’s title). He hops on a plane to London to try and track Sadie down, only to get embroiled in her espionage work. And everywhere they go and whoever they meet, it is always remarked upon that Cole and Sadie have simmering sexual chemistry. “You two need to get a room” is said at least five or six times. After a point, it starts to feel like Ghosted is trying to brainwash its audience. There is no chemistry, sexual or otherwise. Evans and De Armas have made for a charismatic pair during Ghosted ’s press tour, but their film doesn’t seem to understand that an “opposites attract” storyline requires passionate disagreement – and not the mildly irritated, “I’d like to speak to your manager” energy that’s drawn out of both actors.

Everything else about Ghosted feels like filler: the gratuitous amount of celebrities called upon for cameos, Brody’s far-too-committed but elegantly dressed villain, and a trio of action scenes soundtracked to arbitrary pop hits. None of it makes a difference. Ghosted already fell at the first hurdle.

Recommended

  • Sexiest Man Alive Chris Evans says he’s experienced something ‘much worse’ than ghosting
  • Chris Evans reveals the best place for a first date
  • Ana de Armas says she learnt English by watching Friends

Dir: Dexter Fletcher. Starring: Chris Evans, Ana de Armas, Adrien Brody, Mike Moh, Tim Blake Nelson, Marwan Kenzari, Anna Deavere Smith. 12, 116 minutes.

‘Ghosted’ is streaming on Apple TV+

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2023, Action/Romance, 1h 56m

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Critics Consensus

Listlessly wafting between action, comedy, and romance without ever solidifying into a satisfying whole, Ghosted earns a chorus of boos. Read critic reviews

Audience Says

Ghosted isn't great, but if you're in the mood for a fun, lightweight action movie, there are definitely worse options. Read audience reviews

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Ghosted videos, ghosted   photos.

Salt-of-the-earth Cole (Chris Evans) falls head over heels for enigmatic Sadie (Ana de Armas)--but then makes the shocking discovery that she's a secret agent. Before they can decide on a second date, Cole and Sadie are swept away on an international adventure to save the world.

Rating: PG-13 (Brief Strong Language|Some Sexual Content|Seq. of Strong violence/Action)

Genre: Action, Romance, Adventure

Original Language: English

Director: Dexter Fletcher

Producer: Jules Daly , David Ellison , Chris Evans , Dana Goldberg , Don Granger , Rhett Reese , Paul Wernick

Writer: Chris McKenna , Rhett Reese , Paul Wernick

Release Date (Streaming): Apr 21, 2023

Runtime: 1h 56m

Distributor: Apple TV+

Production Co: Apple Original Films, Studio Concierge, Skydance Media

Cast & Crew

Chris Evans

Cole Turner

Ana de Armas

Adrien Brody

Amy Sedaris

Tate Donovan

Tim Blake Nelson

Marwan Kenzari

Dexter Fletcher

Chris McKenna

Screenwriter

Rhett Reese

Paul Wernick

David Ellison

Dana Goldberg

Don Granger

Executive Producer

Donald J. Lee Jr.

Salvatore Totino

Cinematographer

Chris Lebenzon

Film Editing

Josh Schaeffer

Claude Paré

Production Design

Ryan Grossheim

Art Director

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‘Ghosted’ Review: Chris Evans and Ana de Armas Team Up for a Romantic Action Comedy in Which the (Overbaked) Action Crushes the Romance

De Armas is a cutthroat spy, Evans an innocent farmer who gets enmeshed in the action, in a movie too over-the-top and convoluted to make good on its star chemistry.

By Owen Gleiberman

Owen Gleiberman

Chief Film Critic

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GHOSTED, from left: Chris Evans, Ana de Armas, 2023. © Apple TV+ / Courtesy Everett Collection

And that’s what “ Ghosted ” is. Directed by the awesomely unsubtle Dexter Fletcher (“Rocketman”), from a what-the-hell-let’s-throw-it-in-there script by four screenwriters (Rhett Reese, Chris McKenna, Erik Sommers, Paul Wernick) that makes you grateful there weren’t four more, the movie is a romantic action comedy that starts off light and breezy but turns, before you know it, into a dead-weight spectacle of wretched excess.

We’re talking a set-up that’s too defiantly farfetched to hook into. Fight scenes out of a Jason Statham movie but staged with far less precision. An arbitrary series of international settings. An espionage-thriller plot that’s just convoluted yet inconsequential enough to be thoroughly annoying. And a romantic connection between the two stars that doesn’t so much grow and develop as metastasize and get trampled, though theoretically we’re meant to look at their machinations and think: The couple that makes it through a top-heavy put-on thriller this exhausting together stays together.  

The title sounds like it’s telling us that someone’s going to get ghosted — but it’s actually ­a reference to Cole’s paranoia about being ghosted, which leads him to frantically text Sadie the next day. (He doesn’t think he’s sending her too many texts, because he doesn’t count the emoji texts.) Cole lives with his family on a lovely farm outside Washington, where his folksy parents (Tate Donovan and Amy Sedaris) are more supportive of him than his brassy sister (Lizze Broadway) is. But they all can agree on this: Calm it down! Don’t act so needy!

Cole, however, can’t help himself. It’s in his nature to be that outdated thing, the overly super-nice guy. So after Sadie doesn’t return his texts, and he discovers, by tracking the asthma inhaler he left in her purse (that’s the first time our plausibility alert button goes off; it won’t be the last), that she’s gone to London, he makes an impulsive decision. He will fly across the ocean and surprise her! As if this were the climax of a ’90s rom-com and not the kickoff of an everything-but-the-kitchen-sink streaming movie.

Will Cole look like a stalker? Of course he will! No sane person would do this. But the movie needs him to be in London so that he can suddenly get surrounded by three henchman who mistake him for…the Taxman. That’s the code name for a mysterious espionage specter he is very much not. (It’s also an excuse to use the Beatles’ “Taxman.”) So why would they think that’s who he is? Why would a sinister baddie (Tim Blake Nelson) with a Cold War Dracula accent strap him into a chair and begin torturing him with a smorgasbord of live bugs? If you haven’t already figured it out, the theme of “Ghosted” — or at least its modus operandi —is, Why ask why?

A good rom-act-com should escalate, slowly but surely, so the audience feels like it’s being invited along for the ride. “Ghosted,” on the other hand, wastes no time dropping Cole and Sadie into a desert in Pakistan, where they commander a colorful spangly indigenous bus and engage in a cliff-side road chase that looks like it wants to be the centerpiece sequence of “Indiana Jones XIV.” That Cole, an innocent farmer, is already hanging off the side of the bus like an action demigod is less nagging than the central confusion built into the story. Sadie, in case I forgot to mention it, is a CIA cutthroat who didn’t plan on Cole following her to London. Yet she never looks the least bit nonplussed about the fact that he showed up. Even as they become partners, the two maintain their hostility, which is partly rooted in her “man over mission” ethos. (She values the mission more than the life of any colleague. Including Cole.)

In a running gag, famous actors keep showing up, unbilled, as assassins, only to be assassinated after two minutes of screen time. In another running gag, everyone keeps telling Cole and Sadie, “You two should get a room,” the joke being that they’re fighting like cats and dogs. We get it: They’re expressing their sexual chemistry. There’s an action scene set aboard a plane set to Jet’s triumphantly raucous “Are You Gonna Be My Girl,” which leads to the two being stranded on an island in the Arabian Sea. At this point you may start to notice that the movie isn’t building their chemistry — it’s getting in the way of it.

“Ghosted” works up to an elaborate sequence, set in a glassed-in skyscraper restaurant, that may remind you of a lot of other, better sequences. The espionage intrigue is rote; the action is more bombastic than any rom-act-com can truly sustain. I’m not sure if Dexter Fletcher has it in him to stage an elegantly fanciful-yet-plausible action scene. Yet in “Ghosted,” he tosses a whole lot of stuff into the blender, and that’s supposed to be enough. The action in this movie doesn’t really do much to bring the two characters together, except to the extent that when it’s over it’s like Novocaine wearing off.

Reviewed at AMC Lincoln Square, April 18, 2023. MPA Rating: PG-13. Running time: 116 MIN.

  • Production: An Apple TV+ release of a Skydance Media, Apple Original Films production. Producers: David Ellison, Dana Goldberg, Don Granger, Chris Evans, Jules Daly, Paul Wernick, Rhett Reese. Executive producers: Donald J. Lee Jr., Brian Bell, Ana de Armas.
  • Crew: Director: Dexter Fletcher. Screenplay: Rhett Reese, Paul Wernick, Chris McKenna, Erik Sommers. Camera: Salvatore Totino. Editors: Chris Lebenzon, Jim May, Josh Schaeffer. Music: Lorne Balfe.
  • With: Chris Evans, Ana de Armas, Adrien Brody, Mike Moh, Tate Donavan, Amy Sedaris, Lizze Broadway, Tim Blake Nelson.

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Chris Evans and Ana de Armas in Ghosted

Ghosted is an over-caffeinated action comedy romance that tries too hard to be too many things, starting out as a sweet budding rom-com before drastically morphing into a violent international spy-chase movie anchored by a constantly bickering couple. This is one of those Hollywood movies that rarely slows down to breathe, throwing everything at the wall and just hoping some of it sticks.

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Basically this is the kind of formula we have seen many times, a mismatched pair arguing their way through some heart-stopping action like in Romancing the Stone, The Lost City, and even De Niro and Grodin in Midnight Run.

If you didn’t read the synopsis, you wouldn’t be wrong to think this was actually going to be your standard movie romance. Evans as Cole Turner and de Armas as Sadie Rhodes “meet cute,” clearly loathing each other at a local street fair in Washington D.C. where she attempts to buy one of farmer Cole’s prized plants. When his co-worker suggests there was considerable sexual tension between them he decides to track her down before her car takes off. One thing leads to another and before the day is done the pair find themselves in bed together before parting ways.

Once there this rom-com turns considerably darker as Cole is ambushed, knocked out by sinister types on the street, and awakens in a torture chamber full of deadly bugs, as the lethal Borislov (Tim Blake Nelson) threatens him with murder hornets unless he coughs up a “passcode” he is convinced he has for a weapon of mass destruction known as Aztec that their boss plans to sell to the highest bidder. Mistaken for an expert operative only known as The Taxman, he nearly dies until a masked CIA agent (who really is The Taxman) comes in with guns blazing and kills the bad guys before grabbing Cole and revealing she is indeed who he knew only as Sadie.

The bickering and fighting only resumes on a higher level as, now stuck with Cole, the pair has to hightail it to such exotic locales as Afghanistan and Pakistan, a bounty now on both of them put out by Leveque ( Adrien Brody ), a menacing villain and black-market arms dealer obsessed with getting that passcode and killing The Taxman. He enlists his scary henchman Wagner to help.

Wild chases, including one with a very colorful bus ride, shoot-outs and close calls, ejections from planes and so much else ensue as the action and stunts ramp up and Cole finds himself caught up in some terrifying brushes with death as Sadie just tries to do her job. Parachuting onto a deserted island and yet more battles all lead back to D.C. and a showdown in a sky-high revolving restaurant. There is no end to what they encounter, but will this all lead to a proper second date?

Evans is actually quite amusing in a switch where it is the guy who is the damsel in constant distress. He’s fun to watch and there is chemistry between him and de Armas, which you might expect since this represents their third teaming after Knives Out and The Gray Man, only this time he is a good guy. De Armas again shows she is a natural when it comes to action roles and a real screen presence. The rest of the cast is basically one dimensional, with Brody laying on the villain act like a new-age Snidely Whiplash. No one is taking any of this seriously, a point emphasized with a series of star cameos that reinforce the idea this is all a big joke. Those cameos, by the way, some with a clever connection to Evans, are the main highlights of the action and hilariously interspersed.

Check your brains at the door (or in this case on the couch) and you will have a good enough time thanks to Evans and de Armas. Producers for the Apple Original Films by Skydance production are David Ellison, Dana Goldberg, Don Granger, Jules Daly and Evans, joined by Rhett Reese and Paul Wernick ( Deadpool, Zombieland ) who also wrote the frenetic script with Chris McKenna and Erik Sommers. It begins streaming on Apple TV+ on Friday.

Title: Ghosted Distributor: Apple Original Films Release date: April 21, 2023 Director: Dexter Fletcher Screenwriters: Rhett Reese and Paul Wernick, Chris McKenna and Erik Sommers Cast: Chris Evans, Ana de Armas, Adrien Brody, Mike Moh, Tate Donovan, Amy Sedaris, Lizze Broadway, Tim Blake Nelson, Anna Deavere Smith Rating: PG-13 Running time: 1 hr 56 min

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Ghosted review: Chris Evans and Ana de Armas never quite Bond

The underwhelming apple tv+ rom-com features de armas as a super spy, evans as a lovestruck farm boy, and a bunch of familiar villains.

Chris Evans and Ana de Armas in Ghosted

It’s surely a measure of how far the star system has fallen that so many A-list actors agreed to be in Ghosted , either as leads or in cameos. This action rom-com arriving on Apple TV+ feels like barely a first draft in every regard, from the flimsy script to the awkward, unpolished CG to the lazy music choices (a car chase set to “My Sharona” here, a fight scored with “Are You Gonna Be My Girl” there). That it comes from Rocketman director Dexter Fletcher and Deadpool and Zombieland   screenwriters Rhett Reese and Paul Wernick is flat-out dismaying; either they didn’t care or they’re losing their abilities. It’s the sort of movie that makes a running gag out of minor characters constantly telling leads Chris Evans and Ana de Armas that they should “Get a room,” despite the fact that, well, they already did in the movie’s first act.

To the extent that Ghosted works at all, it’s thanks to the cast. A centerpiece scene likely to be talked about features an array of bounty hunters popping up, each one killing the last, all played by familiar actors in surprise appearances, riffing on their previous roles. The material they have to work with is that same “Get a room” line; the laughs, if any, come from their pre-existing personas, not the clunky dialogue or the awkwardly staged kills.

Also, this action movie doesn’t have any action for the first 30 minutes. We meet Sadie (de Armas) telling a counselor over her car phone that, “My cold, empty house has a cold, empty fridge.” She encounters Cole (Evans) at a farmer’s market where, looking to buy a houseplant on her therapist’s advice, the two get into a debate about which vegetation she’d be best able to care for. Banter becomes a date, an all-day date ends up in the bedroom, and needy Cole spends the next day sending texts that get no response.

When he realizes his geo-tagged asthma inhaler was left in her purse for ... reasons ... Cole traces it to London, then decides he will be spontaneous for the first time in his life and fly there to surprise her. This despite the fact that he’s never left the country before. When he shows up, he’s kidnapped by evil spies who accuse him of being an assassin called the Taxman. Lo and behold, Sadie shows up to kick ass and save his bacon, then reveal they’re actually in Pakistan now, where control of a biological WMD is at stake.

It’s clear why de Armas got cast—she’s here for all the critics who complained we didn’t see enough of her as an associate or potential paramour of James Bond in No Time To Die . Evans, however, seems to be a case of the Wrong Chris. Guileless farm boy, good at outdoorsy stuff, shoots guns but never at people, never left the United States, a wrestling fan, drawn to women who kick ass and kill, and hopelessly naive about geopolitics despite a love of history? That should have been Pratt, all the way. Evans comes across as too smart for a role that requires a bit of lunkhead method acting.

Among the villains needing vanquishing are Tim Blake Nelson as a Russian-accented torturer fond of digitally animated murder hornets, and Adrien Brody as the world’s second-most English Frenchman (No. 1 will always be Jean-Luc Picard of Star Trek ) whose accent varies scene to scene. The finale, which imagines what we all fear might happen if a revolving restaurant picked up speed, is clever in theory, but none of the action here is great in execution. It’s also not really believable that Cole would become a fighter equal to global terrorists after just a couple of days, but it’s still more credible than the digital compositing in most of the movie.

Ghosted takes bits and pieces from Knight And Day , North By Northwest , and Romancing The Stone , among others, but does so as if forcibly compelled rather than inspired. Unlike every other recent film to have referenced Romancing The Stone , it does at least remember to include the sex. There’s a funny notion in Chris Evans effectively playing a damsel in distress, but like everything else in Ghosted , the filmmakers have no idea how to play it.

Ghosted premieres April 21 on Apple TV+

Review: Chris Evans and Ana de Armas rely on chemistry in the silly yet amusing ‘Ghosted’

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It was the best of dates, it was the worst of dates. Such is the case in “Ghosted,” a preposterous but entertaining action-comedy in which a risk-averse farmer (though not your father’s farmer) falls for a captivating art curator, only to discover — the really, really hard way — that she’s actually a bone-cracking, sharpshooting, globe-trotting CIA agent. Oh, and that his life is in mortal danger. Ah, romance!

Chris Evans , at his limber, charismatic best, plays lovelorn Cole Turner (nickname “Cole Slaw.” Groan.) He lives and works with his parents (Tate Donovan, Amy Sedaris) and needling kid sister (Lizze Broadway) on the family farm and sells its products at a Washington, D.C., farmers market. It’s there he meets Sadie Rhodes ( Ana de Armas ), an elusive shopper who catches his eye. After a bit of sexy clashing — and a few too many plant metaphors — they go out for coffee, hit a bunch of D.C. hot spots and are together until the next morning.

Cole thinks she’s “the one” but, when she doesn’t return his flurry of texts, the smitten guy wonders if she’s ghosted him after one marathon date. When he learns (via an all-too-handy app) that she’s gone to London, he decides to make a grand gesture and flies there to surprise her — only to be mistaken for a legendary operative called “The Taxman.” (Thanks to the film’s clearly ample music budget, the Beatles song will be ringing in your ears.) Cole’s knocked out by goons, then wakes up in a cave in — wait for it — the Khyber Pass, where he’s being interrogated and tortured for the passcodes to unlock Aztec, a bioweapon of mass destruction that Leveque (Adrien Brody), a coldblooded, Mr. Big-type arms dealer, has a plan to cash in on.

To say that Cole is bewildered, would be an understatement. But it’s nothing compared to his shock when the real “Taxman” shows up, guns a-blazing — and it’s Sadie. She saves Cole’s life but is less than happy to see him, especially with her cover blown.

It’s worth noting, even at this early stage of the story, that the somewhat hapless and gentle Cole wouldn’t have lasted five minutes amid the initial mayhem. But then there wouldn’t be a movie — or at least this movie — if logic was a priority, so it’s probably best to put your brain on idle and settle into the silliness.

A whirlwind of wild action, quite competently staged and rendered by director Dexter Fletcher (“Rocketman”), follows as Cole and Sadie death-defyingly battle the baddies, including a revolving door of bounty hunters (cue the celebrity cameos), Leveque’s sleek henchman, Wagner (Mike Moh) and, later, a Mr. Even-Bigger-Than-Leveque evildoer named Utami (Stephen Park), all to keep Aztec out of the wrong hands and, y’know, save the planet.

The mismatched pair’s nutso mission takes them from Pakistan and Afghanistan to an island in the Arabian Sea and then back to our nation’s capital (the film was effectively shot in Atlanta, New Mexico, London and D.C.) as they, of course, survive such massive ordeals as a crazy chase through a packed outdoor bazaar, a high-velocity race in an old jungle bus down a mountain switchback, and the movie’s uniquely impressive pièce de résistance: a massive, climactic mêlée atop a sky-high revolving restaurant. Kudos to the picture’s creative and technical team for these eye-popping sequences.

But since this is, at heart, a rom-com — albeit an extremely noisy, frantic and contrived one — the script, by Rhett Reese, Paul Wernick, Chris McKenna andErik Sommers (story by Reese and Wernick), works hard to keep Cole and Sadie bickering, bantering and futilely attempting to resist each other at every treacherous turn. (How folks in films like this manage to exchange quips and barbs amid raging gunfire and wall-flinging fisticuffs remains a dubious wonder.)

Evans (a producer here) and de Armas (an executive producer), who’ve previously appeared together in “Knives Out” and “The Gray Man,” prove a game and appealing duo. They take the film’s ridiculousness just seriously enough to keep barreling through while navigating the more puckish bits with the requisite charm and buoyancy.

Still, the whole enterprise is as far-fetched as they come as it amusingly plies the belief that love can conquer all — even world domination. You could do worse.

'Ghosted'

Rated: PG-13, for sequences of strong violence/action, brief strong language and some sexual content Running time: 1 hour, 57 minutes Playing: Available April 21 on Apple TV+

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Ana de Armas, left, and Chris Evans in a scene from "Ghosted." (Frank Masi/Apple TV+ via AP)

Ghosted review – dreadful big star action comedy deserves to be ignored

Chris Evans and Ana de Armas make for a chemistry-free pairing in Apple’s catastrophically misfiring mockbuster

I t’s easy to see the commercial allure of Apple’s pre-summer mockbuster Ghosted, the package: a snappy buzzword title, an idea from the Deadpool team later fleshed out by some Marvel writers, a big, sexy star pairing proved on screen twice before, an action-comedy-romance hybrid designed to appeal to the widest possible audience. One can only imagine the enthused high-fives that took place in some cold, pristine LA boardroom when it was given the green light. But it’s utterly impossible to see the appeal of Ghosted, the movie, a staggeringly, maddeningly atrocious heap of increasingly boneheaded decisions that will act as depressing documentation of just how rotten things got in the current oversaturated streaming landscape.

Ghosted is content dictated by algorithm at its absolute, industry-shaming worst, so carelessly and lifelessly cobbled together that we’re inclined to believe it’s the first film created entirely by AI. It’s almost avant-garde in its all-consuming awfulness, made with sheer contempt for the usual base staples one expects from a movie, head-shakingly shambolic on all fronts. It’s smug elevator pitch over plot – a guy gets ghosted by a woman who ends up being a secret agent – and while the early inevitable trailer scenes that take us to the end of this logline are bad enough they’re nowhere near as bad as what follows. Chris Evans plays Cole, a farmer slash history academic slash plant obsessive who meets Ana de Armas’s mysterious art curator Sadie one day at the farmers’ market. After some truly painful banter about plants, they decide to go on an impromptu date, the kind that cuts to them in an art gallery with her beaming “Oh my God, I love Monet!” or the pair next to the tower of Lincoln books and her noting “Sounds like you love Lincoln!”, crushingly bland meet-cute dialogue that removes us from their journey before it truly begins.

After Cole gets, here it comes, ghosted by her, he bizarrely decides to track her down and creepily flies to London after accidentally leaving a tracking device on her person or something. She’s as alarmed as we are by his behaviour but is forced to protect him when her real profession is revealed and the two find themselves on the run.

With heightened material such as this, no one expects, or really wants, anything that exists in a grounded real world but there’s something so uneasily, almost creepily, synthetic about every single frame of Ghosted, from the awkwardly robotic dialogue to the uncomfortably asexual central pairing to some shockingly subpar green-screen work, that we still don’t want it to exist within the confines of a cheap simulation (it’s the rare Apple movie that looks like a Netflix one). It’s a strange blip for actor-director Dexter Fletcher, stumbling from the Elton John biopic Rocketman into the netherworld of big-budget anonymity, his film more the product of an uninterested committee of tech execs than anyone remotely interested in the world of entertainment. There are embarrassingly dated action sequences with songs like Are You Gonna Be My Girl?, My Sharona and, groan, Uptown Funk loudly blasted over shoddy editing and laboured choreography, interspersed with eye-rollingly unfunny quips, as if a computer was asked to remake Mr and Mrs Smith for Tubi.

The death of the movie star has been greatly overstated but the pairing of Evans and Armas (previously seen in Knives Out and The Gray Man) is so disastrously misjudged, it does make one seriously question what the industry now thinks a star is and what we as an audience are expected to accept from them. Like last year’s similarly wretched Red Notice , which saw Ryan Reynolds, the Rock and Gal Gadot all compete to see who could be the least charismatic actor on screen, it’s as actively uncomfortable for us as it appears to be for them (a scene of the pair kissing on a beach is so glumly reticent that it seems as though it was performed at gunpoint). It’s not as if the ChatGPT-level script gives them much of anything to work with (“You thought you met a hottie, not a Mata Hari!” is an almost impressively heinous attempt at a zinger) but well-paid stars of this calibre should be able to bring more of an uplift; they’re stilted when they should be sleek.

As with everyone else involved in the film (including Adrien Brody as a ridiculously accented French villain and poor Amy Sedaris stuck playing a stock photo mum who becomes sentient), it just feels like pure, cold paycheque work, clocked in and checked out. If they don’t seem to care then why on earth should we?

Ghosted is available on Apple TV+ on 21 April

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Movie review | ‘ghosted’ is appealing but underachieving action-rom-com.

Love is not in the air after the clingy Cole finds himself pulled into a dangerous adventure with CIA agent Sadie (Ana de Armas) in a scene from "Ghosted." (Courtesy of Apple TV+)

Promising premise? Check.

A couple of bona fide movie stars? Check.

Dependable director? Check.

“Ghosted” — a Skydance Media production going straight to Apple TV+ this week — checks the important boxes. Unfortunately, having the necessary ingredients does not ensure movie magic, as this spy-action-romantic-comedy mashup proves.

Helmed by Dexter Fletcher (“Eddie the Eagle,” “Rocketman”), “Ghosted” pairs Ana Ana de Armas as a highly skilled-and-deadly CIA agent with Chris Evans — Captain America himself — as a clingy, needy fellow who gets pulled into her dangerous world after she fails to respond to a string of text messages from him following one night together.

It sounds fun, right? And, to be fair, “Ghosted is” — it just isn’t as fun, as consistently entertaining, as it should be given all it has going for it.

It starts out well enough, de Armas’ Sadie Rhodes shaken by the death of a colleague, a woman much like her — same age, same job, similarly nice but vaguely inhabited house, etc.

When Sadie shows up at a farmers market to buy a plant to bring even a little life to said sad house, she encounters Evans’ Cole Turner, who works on his parents’ farm and at this moment is covering a neighboring stand chock full of plans for sale. After learning how infrequently Sadie would be home to care for a plant and some sexually charged bickering, he refused to sell her anything but a cactus.

When it’s pointed out to Cole that he and Sadie were actually flirting, he runs out to find her in her car and asks her out. A magical, extended date follows.

Cut to him not all that long afterward talking with his mother (Amy Sedaris), father (Tate Donovan) and sister, Mattie (Lizze Broadway), telling them that while he knows it sounds crazy, Sadie may be the one. Mattie, knowing her brother, demands to know how many times he’s texted Sadie since leaving her.

Once, he says, before admitting, “Three. And some light emoji stuff, but that doesn’t count.”

“Emoji stuff counts!” exclaims Mattie, who is further horrified to find Cole took a selfie with a sleeping Sadie.

Instead of heeding warnings from his sister that he’s already scared off Sadie, Cole soon listens to his parents, who suggest a grand romantic gesture: surprising her in London. (He knows she’s in England from the tracker on the inhaler he left in her bag.) He easily sells himself on the idea that she doesn’t have an international phone plan DESPITE her cover story that she’s a world-traveling art curator.

Come on, guy.

In London and following the signal, Cole is snatched up by some goons and, when he awakens in Pakistan, he is about to be tortured by a man named Borislov (Tim Black Nelson) who believes him to be a deadly operative known as “The Taxman.” Cole, as you can imagine, is highly confused and pleads for his life — until he is rescued by Sadie, appropriately offended anyone would think HE is The Taxman when it is, of course, she.

The adventure that follows — starting with a relatively exciting chase sequence that begins after a furious-at-Cole Sadie commandeers a bus for her and her dude in distress and culminating in the two having to work together to secure a powerful biological weapon — is generally clunky.

Yes, there are more action sequences, but “Ghosted” depends mostly on the comedic moments generated by Evans and de Armas. While he’s no gift to comedy, Evans is more up to this task than she, the Academy Award-nominated “Blonde” star looking for comfortable firing a machine gun than delivering a zinger.

You’d also expect a bit more chemistry from the good-looking pair given that they’ve already shared the screen in two movies, 2019’s “Knives Out” and last year’s “The Gray Man.” (To be fair, though, it’s not as if they had myriad scenes together in either.)

Not surprisingly, Fletcher — whose resume also includes finishing 2018’s “Bohemian Rhapsody” for the fired Bryan Singer — infuses “Ghosted” with a number of catchy tunes, making us wait for an obvious and regularly teased famous song.

Nothing he does, though — not even a handful of clever cameos tied to his stars or the inclusion of the usually terrific Adrien Brody (“See Them Run”) as the movie’s main and surprisingly boring villain — is enough to make “Ghosted” the infectious romp it could have been.

If you’re an Apple TV+ subscriber, there’s enough here to give it a look on a date night in — just don’t expect to want to hit it up again.

“Ghosted” is rated PG-13 for sequences of strong violence/action, brief strong language and some sexual content.

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'Ghosted's Dexter Fletcher Calls Movie "One of Those Rare Magic Moments" and Praises Chris Evans' & Ana de Armas' Performances

The 'Rocketman' director also adds, "I think I've got more to say and more to offer with action."

Kicking off this summer’s action-packed blockbusters is the Chris Evans and Ana de Armas -led action-comedy, Ghosted , which shakes up the genre by blending romance, spy thriller, and comedy. At the helm of what he calls “one of those rare magic moments,” is Rocketman director, Dexter Fletcher , who Collider’s Steve Weintraub spoke with about his takeaways from this star-studded production ahead of its streaming release on Apple TV+.

Ghosted begins as a romantic comedy, and, surprisingly, Fletcher tells us that was one of the most challenging aspects of the film. Finding that balance, and maintaining authenticity throughout, was vital to this genre-blending story that sees a new couple’s relationship put to the ultimate test when one of them ends up being a secret agent. Alongside Marvel alum Evans and John Wick newbie , de Armas, Ghosted features some other pretty big names, including Oscar-winner Adrien Brody and Tim Blake Nelson .

While discussing the movie, Fletcher digs into what it takes to make something on this scale, full of action sequences, with tight prep time. In his words, “...you never finish, you just run out of time on all aspects of making a film,” and with that in mind, Ghosted 's production led to some handy lessons moving forward. During the interview, which you can watch in the video above or read below, Fletcher also talks about the editing process, the outstanding feedback he’s received on the movie, finding the tone, and what he hopes to do next.

COLLIDER: I want to start with congrats on the movie, sincerely, and I also want to say thank you for doing the screening with us in New York City.

DEXTER FLETCHER: I'm looking forward to it.

Perri is going to moderate, and I can tell you that when I announce a screening, I can tell how much interest there is in a movie based on the responses, and we have way more people asking for tickets than I expected in the first day, like a lot of people, so there's a lot of interest in the film.

FLETCHER: Wow, that is really gratifying to hear. That's really good to know, thanks, Steve. Because you always worry, is the word getting out there? Are people interested? Is it sort of engaging people? But look, we got Chris and Ana, we're already ahead of the curve. It's a good start.

Early in your career, you did a lot of acting, and you still do acting, but if someone has never seen anything you've done as an actor, what is the first thing you'd like them to watch, and why?

FLETCHER: Oh gosh, gosh, that's a tough one. Well, I mean, I'm kind of trying to get around the answer by sort of dropping in as many things as I can. Most people in the UK certainly know me from Bugsy Malone , which was a great musical that Alan Parker made with Jodie Foster and Scott Baio many years ago, where all the kids played gangsters. But maybe The Elephant Man , I would say, because I was 13 or 14, and it's a great, incredible film by David Lynch with John Hurt and Anthony Hopkins and John Gielgud, and many other luminaries. That was something that really stayed with me as an experience, it's a great film, it stands the test of time. So if you just want a great film, not that I'm a huge part in it– oh, Lock, Stock, and Two Smoking Barrels , how about we go with that? I don't know. Or Revolution with Al Pacino, I could go for that. Yeah, it's a tricky one, that's tricky.

I was going to say that I still can't believe you did The Bounty and The Long Good Friday .

FLETCHER: I did The Bounty , as well, and when I was 17. I was in Tahiti for nine weeks, 10 weeks with Mel Gibson and Daniel Day-Lewis, his first film I think. Liam Neeson as well.

This is your first time helming a film with this much action, this kind of scale. Obviously, you've done Rocketman and you've done other things, but this is a completely different beast. What do you wish you knew at the beginning of the shoot that you learned during the shoot? Sort of like the advice you're going to give yourself, or the lessons you learned, that you'll take with you to the things you do in the future.

FLETCHER: Well, I think it's about the benefits of previs and storyboarding, which, you know, my other films, I didn't really need them so much before because I could be accessible enough to all departments because it's a much tighter unit, those round table weekly or daily discussions that I've had with the crew and the team. I could help enunciate and elucidate what my vision is and is all about, and how achieving it is really in collaboration with those people, I suppose.

But, when I got the previs for the bus chase, for example, on Ghosted , I immediately thought of the piece of music that's on that and put it on there, and that stuck straight away. I only use that as an example because I didn't have much more time to do a lot more of that. That was the one thing that got the most attention in terms of prevising stuff, which is previsualization, you know, you kind of get billed assets and build it. So that was a real kind of revelation, like, “Oh, you can kind of really get your vision across to people in a very succinct and tangible way really quickly.” I was like, “Give that to everybody.” They all know, then, what we're aiming for, which is great.

So I suppose that, but that comes down to how much prep time you've got, and I've learned that you never finish, you just run out of time on all aspects of making a film. Kind of like life, really, you know? [laughs] But, I suppose that'll be something that I'll be more mindful of moving forward, hopefully, to more action.

This is probably the most important question I'll ask you, do emojis count as a text message?

FLETCHER: That's a good question. I think they do, but I suppose it depends on who's receiving the emoji, or the text. They might just be like, “Well, that's just an emoji,” but emojis can communicate quite a lot. They're a reaction, aren't they?

I mean, look, I'm not of the generation where ghosting is really a relevant thing because I'm married for 25 years, and ghosting seems to be a fairly current phenomenon in the digital age. I'm more analog, unfortunately. I was in The Bounty 40 years ago, so, you know, there was no text messaging then. There was dumping then. People would say things to you like, “It's not you, it's me,” or, you know, “I don't see any future in this.” Now, people just ignore you.

The only other thing I can equate it to is like being an actor. As an actor, you go for many, many auditions, and you never find out why you don't get the job. All you know is, you phone up your agent and say, “Did I get the job?” and they say, “No,” and you say, “Why?” And they say, “We don't know why, you just didn't get the job.” And so, that's the experience of being an actor for many, many years, you're constantly ghosted [laughs]. That's the only thing I can make any sort of comparison to.

I was going to say, I think emojis do count as a text message. One of the things this film does so well is that it's just a fun movie. It's really a really fun film. Talk a little bit about crafting that tone in the editing room, you know what I mean? Because you have a lot of action, you have those fun moments, talk a little bit about putting it all together.

FLETCHER: Well, I think what the film benefits from is that the setup – and certainly for me and for the actors – it needs to feel really genuine and connected and plausible. And so, there's a real reality to making that work, a real authenticity that the actors have to bring, and we have to craft, within that.

You know, in the edit, I struggled with that first initial scene where they meet for a long time, getting the tone right, getting the misunderstanding beats right, and just the back and forward of it, and the initial attraction that then becomes something different. It kind of needed to feel very real. Because everyone recognizes meeting someone they are attracted to for the first time and having to talk to them, that's an experience probably 99.9 of us have. We can't cheat in that moment. It has to feel authentic because if it's just too easy, people will go, “Well, that's too easy.” If it's too contrived and too hard, then people will pull back, as well. So it was getting that balance right.

But that created a bar of authenticity that had to carry through the rest of the film, otherwise, the rest of the film would completely feel completely inconsistent. And so, the action tries to match the authenticity of that initial meeting and that relationship, and I think that's where we benefit. Of course, it gets fantastical, of course, it’s an action, it’s a movie, it's entertainment. But Chris's reaction always feels genuine. He's scared. When people are blowing things up and driving fast and shooting guns, he's like– I’d just be like, “How would we react?” And he'd be like, “I'd be terrified!” I'm like, “That's what you gotta do, be terrified.” And she's [De Armas] a very high achiever who's used to that world but can't handle romance, can't handle feelings, and that's how she plays. So, I think it's a long-winded answer to what you're asking me.

I'm always fascinated by how things change in the editing room. What did you learn from any friends and family screenings or test screenings that impacted the finished film?

FLETCHER: Well, I hate to sound boastful, arrogant or conceited, but I'm gonna run the risk. No, what really happened is that when we assembled the film that we looked at, and we pared everything back for the director's cut – I get 10 weeks to create the cut – I was like, “This really feels like it's working.” But, of course, after 10 weeks of working and watching it, you get a bit of snow blindness. So we took it for a test screening and – we were unsure, we all go in unsure. You say, “I think it's good,” but you don't know. You put it in front of an audience and, it just played so well. People just were laughing at things that never had expected. And then once that first laugh came, it just sort of snowballed, and it carried on, and it scored very highly.

We came out of it, and the studio said, “This is great.” The score was really good, it was a very, very positive, good score. And we realized that there were no reshoots or pickups that were done on this film at all. The film we shot is the film that people see. There's no pickups, no reshoots on it at all. There's one insert of a ring coming off a finger, but other than that, that's it. We didn't have to go back and be like, “Okay, how do we…?” And I think the studio was overwhelmingly pleased by that because it means suddenly we'd have to get everything out of mothballs and employ all these people again. It was like the movie was there.

I think it's obviously a testament to the work that was done by all the crew and cast on the film when we were making it, we worked really hard to make the complete film, and it was just one of those rare magic moments where that actually happened. And so, once that test came in, they kind of were like, “Don't touch it! Just don't, that's it!” And I was like, “Well, I'm gonna put the visual effects, I'm gonna change some music…” and they were like, “No, don’t!” So, it's not a million miles away from the film that was the film that I first cut after my 10 weeks.

Did you end up with a lot of deleted scenes?

FLETCHER: No, no, there's no deleted scenes. There's edited versions of scenes, but there's no scene that doesn't make it into the end. Everything we shot is in the film. There's one scene that I reshot because I didn't like it, which was an ending of them driving away in a car, and I changed it for them being at the ending that you see in the movie now, but we shot that within the main body of the film. There's great outtakes, there's an outtake reel, but there's no extra scenes that didn't make the final cut. There just isn't any, it's all in there.

Do you know what you're going to do next?

FLETCHER: Not yet. There's a couple of things floating around, but I want to sort of focus on just seeing this get out there as well as I can. But no, I don't know. I'd like to do more stuff like this, I really enjoyed it. I think I've got more to say and more to offer with action. I would like to sort of really explore that a bit more.

What's funny is, I have a lot of director friends and the tough thing is getting someone to allow you to make a film on this scale. Once you've done it, everyone's like, “Oh, he's done it, you can go do it again.”

FLETCHER: Yeah, I'm kind of interested to see what happens when this comes out. There's a part of me that’s like, “Well, I might just sit and–” I mean, I feel it's good and people enjoy it, you know? It seems to be, and I've watched it with a couple of audiences and it gets responses. Like I said, there's no guarantees, you can't take it for granted, and taste is totally subjective, but I would like to see whether people go, “He has an interesting take, this guy, and he can handle it.” Let's see if there's more that comes across my desk. That's something for my agent to tell me. I'm going to wait until this comes out is the answer.

Ghosted is now streaming on Apple TV+.

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How Chris Evans and Ana de Armas deliver a new Han Solo and Princess Leia dynamic in Ghosted

The actors tell EW why they wanted to make a "comfort food" action rom-com for their third onscreen outing.

Sydney Bucksbaum is a writer at Entertainment Weekly covering all things pop culture – but TV is her one true love. She currently lives in Los Angeles but grew up in Chicago so please don't make fun of her accent when it slips out.

ghosted movie guns

Chris Evans and Ana de Armas are tired of trying to kill each other.

Their two previous films — 2019's Knives Out and 2022's The Gray Man — pitted their characters against each other as mortal enemies; one was always trying to murder the other. So when Evans was approached with the idea for Apple TV+'s big-budget action rom-com Ghosted , he instantly thought of de Armas to play his onscreen love interest. "I love hanging out with Ana, but with this film, we actually got to be charming together and sweet," says Evans, speaking to EW from a New York hotel room with his costar by his side. "We're not adversarial. It's actually fun repartee, and that was something we hadn't had a chance to do yet."

"We don't hate each other," de Armas adds with a laugh. "It is refreshing."

That's not to say that Evans and de Armas' characters aren't in peril — but at least they're finally on the same side of the fight. Ghosted (streaming now) begins with the ultimate meet-cute as salt-of-the-earth Cole (Evans) and enigmatic Sadie (de Armas) cross paths at their local farmer's market, trading fiery banter over whether green-thumb-challenged Sadie should take on the responsibility of buying a house plant. Their undeniable chemistry kicks off a whirlwind 24-hour date. Cole believes he's finally found the one. But a dozen unanswered texts later, Cole realizes Sadie has totally ghosted him. His family convinces him that a grand romantic gesture is sure to win her back, so he flies to London to surprise Sadie on what he thinks is her work trip. But when he's kidnapped and tortured by some very bad men upon arrival, he's shocked to discover Sadie isn't an international art curator like she told him — she's a veteran CIA spy, and he just ruined her mission. Forced to work together to survive, the two embark on a global adventure to save the world... and maybe their relationship too.

That reveal may seem like a spoiler, but it's nothing you don't see in the trailer — much to the chagrin of the film's stars. "It's a shame," Evans says. "If you know absolutely nothing, the first act is a really nice romance, and then all of a sudden it does this complete 180 and that surprise is what's really satisfying. Unfortunately, we did have to blow that reveal in terms of promoting the film."

Thankfully, Ghosted is more than just that plot twist — it's the kind of feel-good movie that Evans loves watching but hasn't gotten to star in for a very long time. "It felt like a movie that I grew up on, something from the '90s where it was just a fun concept, and a little bit of a role reversal in terms of gender norms and things like that," he says. "It felt very re-watchable, movies that I just don't see enough of right now." It also offered the Marvel star the chance to get back into rom-coms after starring in a long string of heavy dramas and genre action films. "These are the movies that I really like — these are the movies that I'll watch on a good hangover day. I've watched Romancing the Stone a billion times, and if a movie's done well like this, it's like comfort food."

The biggest draw for him, however, was not playing the hero for once. "He's incapable," Evans says, laughing as he describes his role. "I wasn't the one throwing the punches. I was the one getting punched, which was really nice!"

Director Dexter Fletcher ( Rocketman , Eddie the Eagle ) knew he had a once-in-a-lifetime opportunity to showcase one of the world's biggest action stars as the "damsel in distress."

"He's a hero of romance, but he's not the hero of action. She's the hero of action," Fletcher says. "I really liked the idea of some very high achiever having to suddenly deal with someone who just was following her around like a puppy. And the fact that that puppy was Chris Evans was even funnier."

"I didn't have to work anywhere near as hard as Ana did while on set," Evans adds. "And it's fun as an actor to play someone that is human, that reacts to things the way most of us would — which is panic."

De Armas trained harder than ever for her fight scenes — even more so than when her other Knives Out costar Daniel Craig recruited her to play novice spy Paloma in the James Bond film No Time to Die. "My experience in Bond was very short…" the actress begins before Evans cuts her off to say, "Come on, you stole the show!"

"Yeah, yeah, yeah," she continues. "I don't mean only in the movie screen time, but also preparing for it. I didn't have time to prepare for the stunts and all the action, compared to this one [where] I was training for months. I had to carry, for the most part, all the big stunts, which was very exciting. There is this sense of, 'Only men can carry an action-packed movie,' and this is clearly an example of that not being the case. It was a big responsibility. And even though this is a comedy, I wanted it to look legit. I was not going to settle for a so-so take. I would go back to the monitor and be a perfectionist and do it again and again and again to improve. That was very exhausting but very rewarding work."

The first big action scene they filmed comes early in the movie, when Cole learns the truth about Sadie's profession as she saves him from being tortured. "That was the first time I was like, 'Oh my God, Ana,'" Evans remembers. "She did this sequence where she beats up three guys and flips some guy over her head, and I just was like, 'Whoa, alright. She's been doing her training.'"

But no amount of training prepared her for the hardest part of being an action star. "You know what's difficult for me? To hold up a gun," she admits. "I cannot do it."

"It is hard," Evans agrees with a laugh. "It's incredibly heavy!"

"Forget it, I cannot do it with one hand," she adds as she mimes her arms slowly drooping down. "It's horrible. That was my struggle, to be honest. It was either up or down, but never straight. It was no good."

The man on the other end of that gun? Meet vicious black market arms dealer Leveque, played by Oscar winner Adrien Brody . Locked in a brutal cat-and-mouse chase with Sadie as he tries to gain access to a top secret weapon of mass destruction, he mistakenly believes Cole is the agent who has what he needs. "I mean, talk about someone who's got incredible range — he's intense and capable, but also funny and tender," Fletcher says of why he wanted Brody for the part. "I just wanted a good excuse to work with him, so I said, 'Offer him the villain's role. Let's see if he wants to do it.'"

Brody is well aware that playing a villain in an action rom-com is not what anyone would expect from him — and that's exactly why he took the role (not to mention the opportunity to work with his Blonde costar de Armas again). "I just got such a kick out of it," says the actor, as he calls EW from the set of his upcoming film The Brutalist. "It was a breath of fresh air. I do revel in playing a bad guy. There's something really liberating in playing the nemesis — it's freeing. I often look for roles that give me a chance to speak about something much bigger than myself and something much more relevant socially or something that we have to acknowledge... but it's also fun to string up the hero and bruise him."

He's referring to a specific scene that Evans also calls out, in which a bound and gagged Cole is dragged out of a car trunk. "That was fun, although I will say at the end of that day, for whatever reason, the way that I was getting dragged out of that truck, something was happening on the back of my leg getting scraped," Evans remembers. "I got a bruise that was this big — !"

De Armas cuts him off with her laughter: "This guy complains about the one day he got a bruise." Now Evans is fighting back laughs as he adds, "It was crazy! It was horrible! It really hurt. I mean, that's Adrien. He always takes big swings."

"I just had some real specific thoughts on the character," Brody explains. "My first thought was to play it very straight and sinister, and then I was watching The Pink Panther and I changed my point of view. [He's] both funny and scary — and I would probably say more scary."

While striking that balance was a challenge Brody relished, he says it was made easier thanks to the "playful" tone Fletcher created on the set, where the director "encouraged a lot of improvisation."

That "playful" tone extended to Evans and de Armas' scenes — even when their characters weren't getting along. "From lovers to enemies to lovers, that's the real fun journey," Evans says. "It's very Han Solo-Princess Leia. While they're arguing, they're flirting. I love that part, the rhythm of it; the dance is what makes it so charming." Adds de Armas: "They don't have the time to actually get to know each other slowly. Everything is really rushed in a very extreme situation. Of course they're going to fight."

"If this were a normal circumstance, [Cole would] have the space to have a discussion about why he feels betrayed, but they're dodging bullets," Evans echoes. "Underneath it all, you have a guy that really likes this girl, and when the bullets stop flying, you have a chance to see that magnetic pull again."

Speaking of magnetic pulls, the stars say none of the precarious situations Cole and Sadie face compare to the spinning restaurant fight in the film's climax, as the centrifugal force flings the characters against the windows like they're on a Gravitron amusement park ride — a scene that took weeks to film and required the stunt team to spend a weekend spinning on an actual Gravitron. "They all got on it just to get a sense of what the actual physicality would be: Can you stand? Can you move? Can you punch and kick? Turns out, you can't," says Evans. "It's a beautiful concept, great idea; very tough when it comes to filmmaking."

But gravitational pull wasn't the only difficulty de Armas faced filming that sequence. "I sneeze and I bruise, so by the end, truly, the damage was serious. A few injuries, bruises everywhere. So when we had to do the restaurant scene and I was in that dress… I'm pretty sure some of the money for CGI went to covering my bruises," de Armas says. "But what doesn't kill you makes you stronger. It's part of the job, and everyone feels bad for you and they do bring you cupcakes." Evans pretends to get offended as he adds, "No one felt bad for my bruise! But I'll keep complaining about it."

While they aren't truly complaining, they might be done with taking punches for a while. "More rom-coms, yes. More action, I don't know," de Armas says. Though Evans is quick to point out, "She went right onto another action movie [ Ballerina ] right after this. An even more demanding action movie. I can't believe that."

"No more action for me!" de Armas exclaims as they both laugh. "I was just saying yesterday, I just want to play like a librarian or chef."

"Someone in an office," Evans suggests.

He also has an idea for what their fourth movie together should be: "Musical. I'm going to drag her into one."

"He's singing," de Armas immediately says, to which he replies, "She's dancing."

Is this a bad time to let them know dancers get bruises too?

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How to Watch Ghosted: Cast, Plot, and Streaming Details

The romantic-action flick comes to apple tv+ this month..

Jordan Sirani

Apple's next big movie is Ghosted , a romantic-action film starring Ana de Armas and Chris Evans. Part love story, part save-the-world adventure, Ghosted inverts the genre's expected gender roles with de Armas playing the capable hero and Evans the lovestruck man in need of saving.

Ghosted is available to stream today. If you're wondering how and where you can watch it yourself, take a look at the information below.

Ghosted Streaming Release Status

Ghosted will be released on April 21, exclusively on Apple TV+ . The movie will be exclusive to streaming; there is no theatrical release planned. Those with an Apple TV+ subscription can watch it at the link below beginning April 21:

  • Apple TV+ (Stream)

What is Ghosted About?

Ghosted is a romantic-action movie starring Ana de Armas and Chris Evans. Here's the official synopsis from Apple:

Salt-of-the-earth Cole (Evans) falls head over heels for enigmatic Sadie (de Armas) — but then makes the shocking discovery that she’s a secret agent. Before they can decide on a second date, Cole and Sadie are swept away on an international adventure to save the world.

Ghosted Cast

ghosted movie guns

Ghosted was written by Rhett Reese, Paul Wernick, Chris McKenna, and Erik Sommers. It was directed by Dexter Fletcher and stars the following actors:

  • Ana de Armas as Sadie
  • Chris Evans as Cole
  • Adrian Brody as Leveque
  • Tim Blake Nelson as Borislov
  • Mike Moh as Wagner
  • Amy Sedaris as Mom
  • Tate Donovon as Dad

Ghosted Rating and Runtime

Ghosted is Rated PG-13 for sequences of strong violence/action, brief strong language, and some sexual content. The film runs for a total of 1 hour and 56 minutes including credits.

Jordan covers games, shows, and movies as a freelance writer for IGN.

In This Article

Ghosted

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Ghosted Trailer Sees Ana de Armas Use Those James Bond Skills While Reuniting With Chris Evans Onscreen

Evans and de Armas is becoming a team you can trust to deliver the goods.

Since Chris Evans and Ana de Armas first teamed up on Rian Johnson 's 2019 whodunnit Knives Out , they've been a team that feels like a natural fit. So bringing them back together for the 2023 new movie release Ghosted was going to be an event to watch out for from the moment it was announced. But after watching de Armas using those James Bond action skills she’s been honing yet again, while also allowing Evans to play towards broad comic farce, this definitely seems like a reunion worth celebrating. 

Oh, and this happens to be a romantic comedy, as well as a spy movie. That's one of 6 things we now know about Ghosted . We’ve seen those genres mix before, but with Apple’s first trailer for director Dexter Fletcher’s entry into the canon, it’s looking pretty fresh. Part of that is the fun concept that puts Chris Evans’ lovesick protagonist Cole in the middle of some intense-looking action, which only happens because of that traditional rom-com showstopper: a grand gesture of romance!

Unfortunately for Cole, following the lovely Sadie (Ana de Armas) all the way to London is a little more hazardous than he could have ever imagined. This leads to a lot more guns than roses in Ghosted’s romantic comedy. Lucky for the audience, this fast-paced mission looks like it’s easy to love, no matter which genre you appreciate more.

This marks the third time that Chris Evans and Ana de Armas have crossed professional paths, with the second project being Netflix’s own spy adventure, The Gray Man . Ghosted’s espionage playing field is way different from the Mark Greaney-inspired action rampage, as things are more lighthearted in this sandbox. Though there are still plenty of witty barbs flying in the air, Evans is especially different this time out. 

With plenty of romantic comedies under his belt from his early career, Evans is yet again playing the stereotypical lead who is so in love, they’d do anything. Meanwhile, de Armas’ Sadie is a no-nonsense action hero who doesn’t mind reminding her would-be suitor that he got himself into this mess. It's a mess that’s got a mess of talent thanks to Ghosted’s impressive all-star cast . 

An amazing array of actors pop up in this initial footage, with comedy all-star and The Mandolorian cast member Amy Sedaris and Rocketman’s Tate Donovan playing the encouraging parents to Chris Evans and his romantic intentions. Plus, another Rian Johnson alum who shows up is Adrien Brody , who most recently teamed up with the writer/director as part of the cast of Poker Face , Peacock’s recent streaming mystery hit. 

Casting is key when it comes to mixing tones like Ghosted does, and watching Chris Evans and Ana de Armas reunited yet again feels like a grand gesture of romance to the world of moviegoers. It’s almost enough to make us sad that they won’t be reteaming as planned for Project Artemis , though there is a bright side to keep in mind. 

After three movies and tons of buzzy social media moments together , the Evans/de Armas team looks like they’ve hit their stride. So this probably isn’t the last we’ve seen of these two perfectly paired performers on screens big, small and in-between. Of course, that'll depend on who chooses to accept the mission that is Ghosted , which will begin streaming to the world of those with an Apple TV+ subscription on April 21st.

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Mike Reyes is the Senior Movie Contributor at CinemaBlend, though that title’s more of a guideline really. Passionate about entertainment since grade school, the movies have always held a special place in his life, which explains his current occupation. Mike graduated from Drew University with a Bachelor’s Degree in Political Science, but swore off of running for public office a long time ago. Mike's expertise ranges from James Bond to everything Alita, making for a brilliantly eclectic resume. He fights for the user.

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Gaston Glock, Inventor of the Gun That Bears His Name, Dies at 94

A reclusive Austrian billionaire, he created the handgun worn by two-thirds of America’s police officers and the security forces of at least 48 countries.

A black-and-white photo of two men sitting at a table examining two guns and the related equipment. Gaston Gluck, wearing a dark suit and tie, is at left. The other man wears glasses and a shirt and tie but no jacket.

By Robert D. McFadden

Gaston Glock, the Austrian engineer who invented the boxy Glock handgun , which has become a weapon of choice for national security forces, law enforcement officials, violent criminals and gun enthusiasts in America and around the world, died on Wednesday. He was 94.

The Glock company announced his death on its website. Their statement did not provide further details.

The Glock is almost everywhere: fired in massacres and shootouts, glamorized in Hollywood movies, featured in television dramas, jammed into the belts of killers and thugs, worn by two-thirds of America’s police officers and the security forces of at least 48 countries. Its praises are sung by gangsta rappers, its silhouette is posted at airports, and it is a focus of gun-control debates.

Its creator was almost nowhere: a reclusive billionaire who owned his company and lived on a lakefront estate in Austria shielded by guards, lawyers, financiers and servants. He was in the news rarely — in 1999, when a business associate tried to have him killed (Mr. Glock knocked his assailant unconscious); in 2011, when at 82 he divorced his wife and married a 31-year-old woman; and in 2012, when “Glock: The Rise of America’s Gun,” by Paul M. Barrett, was published.

In 2017, Forbes estimated worldwide Glock sales at more than $500 million, with a 65 percent market share of handguns sold in the United States. In 2021, Forbes estimated Mr. Glock’s personal fortune at $1.1 billion.

Before his gun became a global phenomenon, Mr. Glock managed a car-radiator factory near Vienna and, with his wife, ran a small business in his garage making door hinges, curtain rods and knives. He had not handled a gun since he was a teenage conscript in Hitler’s Wehrmacht at the end of World War II.

But one day in 1980, he overheard two Austrian Army officers talking about a prospective new military contract for a pistol. He spoke to the officers, and later to experts on handguns. He then designed and patented a lightweight 9-millimeter semiautomatic, partly made of tough plastic, that could rapidly fire 18 rounds and be reloaded easily with a magazine in the handle.

It was a dull black, industrial-looking wedge of rectangles without the fancy wood grip or sleek steel curves of the Smith & Wesson revolver. But it was cheap to produce, accurate and reliable, ready to fire even if soaked by rain, left in the snow or dropped on the sidewalk. Although its parts were plastic, its metal barrel set off airport security alarms. In 1982, the Austrian Army ordered 20,000 Glock 17s — so named because it was his 17th invention.

Overcoming legal hurdles and benefiting from promotional campaigns, the Glock became a phenomenal seller, especially in the United States. It arrived in the mid-1980s, when crime rates were soaring and police officers felt outgunned. New models and calibers with extended magazines were introduced. Two-thirds of America’s police forces, including New York City’s, adopted the Glock, as did many federal, state and county agencies.

Mr. Glock established manufacturing plants in the U.S., Europe and Asia and amassed a large personal fortune. He bought jet planes and a yacht, built an equestrian center to indulge his passion for horses, and turned his vacation retreat at Velden, Austria, into a mansion on a guarded estate. He traveled and entertained associates, including the right-wing extremist Jörg Haider. But he avoided publicity and valued his privacy.

He was vilified by gun-control advocates and hailed by gun aficionados. Despite the Glock’s popular depiction as a criminal’s weapon and its use in some of America’s most spectacular mass shootings, Mr. Barrett, the author of “Glock,” said the gun had not commonly been traced to crime scenes — indeed, far less so than other firearm brands.

“Glock, then, is not a particular villain within the fraternity of firearms,” Mr. Barrett wrote. “Nor is he a hero — regardless of what Hollywood tells us on both scores.” In summation, he added, “Gaston Glock is one of the giants in handgun history, deserving of mention alongside Colt, Browning, Smith and Wesson.”

Gaston Glock was born in Vienna on July 19, 1929, the son of an Austrian railroad worker. He attended public schools and, after his brief military service, graduated from a technical institute. Trained as an engineer, he joined a company that made hand drills, worked his way up to management and held a series of supervisory jobs.

He and his wife, Helga, were married in 1962 and had three children: Brigitte, Gaston Jr. and Robert. They were divorced in 2011, after which they were embroiled in litigation for years over hundreds of millions in assets and alimony, and over control of the business. Later in 2011, Mr. Glock married Katherine Tschikof, who had been his nurse when he suffered a stroke in 2008, and who became the director of his equestrian center in Southern Austria after they married.

Information on survivors was not immediately available.

Gaston and Helga Glock settled in Deutsch-Wagram, a suburb of Vienna, and he became manager of a car-radiator factory. With a metal press in their garage, they began a small side business making curtain rods and brass fittings for doors and windows. They later won contracts to make knives and bayonets for the Austrian Army. It was on a visit to the Defense Ministry that Mr. Glock overheard the conversation that led to his gun contract.

As Glock sales soared to $100 million a year in the 1990s, a business associate, Charles Ewert — a financial adviser who had set up shell companies as tax shelters for Mr. Glock — tried to have him assassinated, evidently to conceal his own embezzlement of millions from the company. In July 1999, Mr. Glock went to Luxembourg for a meeting with Mr. Ewert and was attacked in a garage by a masked man wielding a hard rubber mallet.

As Mr. Ewert ran off, Mr. Glock, who was 70 but physically fit from swimming every day, fought back and, despite receiving seven head wounds, knocked the assailant unconscious. Mr. Ewert returned with the police and was himself arrested after being implicated in the plot.

In 2003, Mr. Ewert and the attacker, Jacques Pêcheur, were found guilty of attempted murder. Mr. Ewert was sentenced to 20 years. Mr. Pêcheur drew a 17-year term after testifying for the prosecution against Mr. Ewert, but he was released after seven years for good behavior.

Investigations of Glock corporate financial affairs later revealed a global chain of shell companies that hid income, laundered profits, reduced taxes, deflected liability lawsuits and made payments to lobbyists and the campaigns of public officials. Some company officials were prosecuted, but Mr. Glock was not.

After his divorce and remarriage, Mr. Glock’s first wife filed lawsuits in Austria, claiming alimony for her 49-year marriage and asserting that she had been wrongly deprived of a 15 percent interest in the firearms empire under a 1999 trust intended to perpetuate family control. Under the trust, Mr. Glock owned 99 percent of the company and Mrs. Glock 1 percent. She also said her adult children had been unjustly fired from positions in the corporation.

Helga Glock won her alimony case, but she lost her lawsuit demanding a larger stake in her former husband’s company. In 2014, she resumed the fight with a lawsuit filed in a federal court in Georgia, claiming that Mr. Glock had cheated on her both in their marriage and financially. Her case was dismissed in 2017 and again in 2018.

Robert D. McFadden is a senior writer on the Obituaries desk and the winner of the 1996 Pulitzer Prize for spot news reporting. He joined The Times in May 1961 and is also the co-author of two books. More about Robert D. McFadden

Screen Rant

8 john wick replacement movies that are currently in the works.

With John Wick: Chapter 5 in development, the stage is perfectly set for other interesting action movie franchises to fill the void in the meantime.

  • The John Wick franchise is developing John Wick: Chapter 5, but there are other action movies coming soon to fill the void.
  • Den of Thieves 2: Pantera is set for release in 2024 and follows Gerard Butler's character as he tracks down a double-crossing team member.
  • The Beekeeper, The Fall Guy, and Nobody 2 are other exciting action movies to look forward to, featuring Jason Statham, Ryan Gosling, and Bob Odenkirk.

Spoiler Warning: This article contains spoilers for John Wick: Chapter 4, Den of Thieves, and Nobody.

While the producers of the John Wick franchise are currently developing John Wick: Chapter 5 , a string of interesting action movies are set for release either in 2024 or sometime in the near future, thus providing action movie enthusiasts with plenty of options to fill their John Wick void. Among many things, the John Wick franchise timeline is full of spectacular fight choreography, in-depth worldbuilding via the Continental and the universe's many interesting characters, and for its bloody displays of violence. With the recent success of John Wick: Chapter 4 , audiences can rest assured that they'll see Keanu Reeves' skilled assassin character take to the big screen eventually.

In the meantime, John Wick director Chad Stahelski and other prominent action movie auteurs are attached to a plethora of interesting action movies slated for release sometime in the near future. While the release dates for some of the more notable action movies are currently unknown, what is known is that each of them is supported by a dedicated team of action movie filmmakers interested in pushing the action genre's envelope as displayed in their previous projects. While John Wick: Chapter 4 and the franchise as a whole have set a high bar for action movie filmmakers to surpass, the upcoming action movies still have the potential to succeed .

John Wick 5 Is Being Written, Studio Confirms More Spinoffs In Development

8 den of thieves 2: pantera, christian gudegast's sequel to his 2018 thriller den of thieves is slated for release sometime in 2024.

Den of Thieves follows an elite unit of the Los Angeles Police Department clashing with one of the county's most notorious and organized bank robbers in writer-director Christian Gudegast's tense, high-octane action thriller. Notable for its strong acting performances, gritty depiction of Los Angeles County, and tense shootouts, Den of Thieves ends on a cliffhanger when it is revealed that O' Shea Jackson Jr.'s Donnie Wilson intended to double-cross his team from the very beginning. While there isn't an ironclad release date yet, Den of Thieves 2: Pantera is slated for a 2024 release , and its premise centers on Gerard Butler's Big Nick tracking Donnie down .

7 The Beekeeper

David ayer's the beekeeper sees jason statham on a quest for revenge against a corrupt corporation.

Jason Statham's upcoming The Beekeeper sees the action star as Mr. Clay, a highly-skilled individual formerly of the secret organization known as the Beekeepers, as he embarks on a one-man quest for vengeance against an evil corporation responsible for the deaths of his neighbors. The Beekeeper looks to make up for The Expendables 4 's failure with its tongue-in-cheek trailer that plays into many of Statham's greatest strengths and meme-worthy tropes as seen in his more recent fare. With a January 12, 2024 release , and Jason Statham already teasing The Beekeeper 2 , The Beekeeper looks to be a fun and enjoyable addition to Statham's prolific action movie library.

6 The Fall Guy

David leitch's action movie sees ryan gosling on an action-packed adventure to find a missing a-list actor.

The Fall Guy sees Ryan Gosling as a retired stuntman named Colt Seavers who's pulled back into the world of Hollywood after an A-list star goes missing from a blockbuster movie that his ex-girlfriend is directing. Coming hot off the heels of Barbie 's success, The Fall Guy looks to be a self-reflexive action adventure journey that boasts just as much action as it does thought-provoking themes such as mental health and boundaries in a romantic relationship. Hitting theaters on May 3, 2024 , The Fall Guy is also positioned to carry the momentum from director David Leitch's 2023 action-packed adventure, Bullet Train , thus ensuring a similar quality as the action flick.

Nobody sees Bob Odenkirk star as Hutch Mansell, a docile and meek family man living an ordinary life whose true character as a government assassin known as Nobody, is revealed after his house is burglarized by petty thieves. Despite Odenkirk's reputation as one of Hollywood's best comedic actors, Nobody sees the Better Call Saul star shed his humorous image in a movie rife with violence and break-neck action that rivals contemporary action movies like the John Wick and The Expendables franchises. Although details are tightly sealed, Nobody is positioned for a sequel after enjoying new life on Netflix in 2023 .

8 Reasons Ana De Armas' Ballerina Will Succeed, Despite John Wick's 2023 Disaster

4 rainbow six, rainbow six will be a continuation of 2021's without remorse starring michael b. jordan.

Although Lionsgate is still deciding John Wick 's franchise future, the perfect John Wick replacement movie has already been made in 2021 with the Michael B. Jordan-starring Without Remorse . Based on the Tom Clancy novel of the same name, Without Remorse sees Jordan as John Kelly, an elite Navy SEAL who finds himself as part of a larger political conspiracy while on a quest to avenge his wife's murder. While the details surrounding an official release date aren't available , Rainbow Six will be directed by Chad Stahelski , and will see Jordan reprise his role as Kelly as he leads an elite team of military personnel against an international conspiracy.

3 Ghost of Tsushima

Ghost of tsushima is the movie adaptation of the 2020 sucker punch productions video game.

Set in 18th century Japan, Jin Sakai must master the Way of the Ghost fighting style to defend Tsushima Island from invading Mongol forces. The critically acclaimed 2020 game received near-universal praise for its cinematic approach to video game storytelling, well-written characters, and bloody gameplay, thus ensuring a bright future for the action-adventure video game. Chad Stahelski will direct the Ghost of Tsushima movie as he's confirmed the script is complete, but with his Rainbow Six plans among many other projects, it is uncertain when it will hit theaters . Nevertheless, Stahelski's familiarity with the source material and his visual style are already great news for the adaptation.

2 The Highlander Reboot

The highlander movie stars henry cavill and will reboot the long-standing franchise.

Highlander sees Christopher Lambert as Connor MacLeod, an immortal Scottish swordsman on a quest to defeat his fellow immortal opponents and claim what is known as "The Prize." With minimal details available regarding the movie's plot details, the Highlander reboots will star Henry Cavill , and is yet another one of Stahelski's projects under his belt. Despite the lack of details regarding the Highlander reboot's future , Stahelski's already proven to be the best director for the new franchise with his work on the John Wick movies. Furthermore, Cavill's affinity for swordsman characters and love of the original series confirm the Highlander reboot is in good hands.

1 Ballerina

Ballerina will be the first john wick spin-off and is slated for a july 7, 2024 release.

Perhaps the most promising movie to make up for John Wick 5 's absence is the John Wick spin-off, Ballerina . Starring Ana de Armas as the titular Ballerina, the movie follows a similar plot to John Wick's, with the Ballerina avenging her murdered family, set against the gritty and unique world of its predecessors. With a July 7, 2024 release date , Ballerina is set to be one of the summer's biggest action-packed thrillers, and with Anjelica Huston and Reeves reprising their roles from John Wick: Chapter 3 - Parabellum , the movie already seems to be taking great strides to expand the lore that Stahelski's John Wick started.

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COMMENTS

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