Indeed, much of the recurring meta-textual humor in both Deadpool movies is Reynolds having a laugh at Green Lantern’s expense, mocking what it did to his career… including by making it that much harder for Reynolds to get Deadpool off the ground. It’s from that awkward period in his career directly after the notorious box office flop Green Lantern in 2011. It’s easy to imagine Safe House is not one of the actor’s favorite films.
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The first Hitman’s Bodyguard is a better film than Safe House, but that earlier movie is a reminder that Reynolds is more than just one persona.
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He even has time to crack wise with Jackson about their rivaling badassery.
Jackson on multiple road trips, and yet that guy remains perpetually nonplussed about the constant stream of shootouts and chases he’s in. This is diametrically opposed to his character in The Hitman’s Bodyguard who has a similar frenemy camaraderie with Samuel L.
What’s more, he’s actually quite good in scenes where his Weston character-a low-level CIA employee that winds up having to both capture and team-up with Frost-is driven to cynical horror at his boss’ realpolitik manipulation, or where he must tell the woman he loves that he’s been lying to her for months and now must ghost her. Washington’s played characters like Tobin Frost before, and in better films, but Reynolds hasn’t played a straight man, or a character with a dawning sense of despair, in a long, long time. On its own, it’s a fairly standard (some might even say substandard) thriller wherein frantic editing and shaky handheld camerawork attempts to evoke a sense of real-world tension and espionage. Which is why Safe House is suddenly so fresh now. While Reynolds only fully breaks the fourth wall when he actually is in his red and black undies, all of these roles are in the same wheelhouse as Wade, as is the actor’s social media image, which has even created a joking alter-ego named “Brother Gordon,” Ryan’s alleged twin brother who sells Aviation Gin, a liquor the actor maintains an ownership interest in.
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It’s why his version of Pikachu in Detective Pikachu feels both earnest, yet glibly aware of his cuteness it’s how Reynolds’ Michael Bryce can be as acerbic in his wiseacre sensibility in the Hitman’s Bodyguard films as Wade Wilson and it’s why his steady post-pandemic hit, Free Guy (which has grossed $302 million as of press time despite the Delta variant), can have Reynolds be both completely earnest and self-aware since he is literally the only character in his world who knows he’s a video game NPC. After being unfairly tarred by the cruelest parts of the entertainment press as “box office poison,” the actor who spent close to a decade fighting to get Deadpool made has embraced the Merc with a Mouth persona audiences love. And they’re seeing Reynolds in a way unlike any part he’s played in the last five years. While the picture was a modest success in 2012, earning $208 million worldwide off an $85 million budget, it’s easy to assume many audiences are discovering the film for the first time due to the globe’s most popular streaming service. This thought occurred to me while revisiting Safe House this week, particularly in lieu of the film trending so high on Netflix. For the first time in ages, it feels like you’re watching the actor play a character who isn’t Deadpool. But to see Reynolds play it so straight and so differently from what his star persona would later become is slightly jarring.
The sequence is boilerplate thriller dialogue, a generic sequence in a generic movie (at least in the 2000s and early ‘10s).
“I’m going to isolate you, Matt.” And by watching both actors, you believe him. “I’m already in your head,” Washington smiles back. “Go ahead, you’re not going to get in my head,” Reynolds’ Matt Weston protests as he seemingly holds power over Washington’s Frost character. When Washington begins trying to get under the younger guy’s skin-poking at his insecurities like he’s Ethan Hawke in Training Day or pretty much the entire cast of Man on Fire-Reynolds is visibly shaken. But in the case of Reynolds, it plays differently than how modern audiences likely expect. As with any number of films starring these leading men, the stars are cultivating an oil and water relationship in the sequence, one built on mutual distrust and loathing as they drive across a countryside. There’s a scene midway through Safe House, the 2012 thriller which stars Denzel Washington and Ryan Reynolds, that hits entirely differently in 2021.
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