Eventually, Evan appears on the respective radars of Bathurst and Infinite. Although Ejiofor plays Bathurst as a man warped by his mentally painful life – he just wants to die – this trauma is not felt at all. Ejiofor puts on a puzzling performance that prompts a plethora of puzzling questions rather than providing an updated character. I couldn’t spot the genesis of its thick and obnoxious accent which borders on the special Saturday morning cartoon in its broad specificity. The origins of Bathhurst are not understandable either: where does its immense wealth come from? Where are the other nihilists?
The Infinites invite similar question marks. A leader like Professor X, wheelchair Garrick (Liz Carr), guides the team. His best soldiers include the tall, bearded Kovic (Jóhannes Haukur Jóhannesson) and the highly skilled Nora (Sophie Cookson). The team hope Evan is the reincarnated form of Treadwell, the agent who first hid the egg. In Nora’s case, in particular, she wants to see her former lover again (her mind is imprisoned by Bathurst) and thinks the egg can bring him back. The character dynamic between this trio and Evan is not at all constructed. Instead, Fuqua is entrusted with this intriguing world but refuses to add any outlines to these heroes or their powers. The same goes for the group researcher played by Toby Jones, and a debauched neurologist played by Jason Mantzoukas.
Instead, Fuqua is much more interested in the craftsmanship that animates the film. Which wouldn’t be a bad idea if the craftsmanship was something to inspire: the score resonates at an age-old beat. The choreography and execution of the fight is appalling. In one scene, it’s extremely clear that the stuntmen filmed an entire hand-to-hand combat sequence rather than Ejiofor and Jóhannesson. In another, where Evan and Nora take on the Bathurst Mansion, the cut is an epic mess that’s impossible to follow due to poorly articulated compositions. And while you could follow the action on the screen, soon you’ll wish you had the power. Worse yet, the storytelling in “Infinite” never leads to the tacky visuals – soldiers seemingly suspended in mid air as splinters of wood tear them to death – and superabundant stunts like an acrobatic showdown between Evan and Bathurst in the hull of a transport aircraft.
Without big characters and the aesthetic to go with it, “Infinite” is a misguided soft toss from Fuqua made with franchise goals. You get the impression that his unanswered questions, such as the religious component of these powers, are intentionally left in the dark for future films to be answered. Instead, the obfuscation totally weakens this movie. In an action-adventure about living multiple lives, don’t waste yours watching “Infinite”.
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