![]() ![]() When these moments of carnage ramp up (shot, cut, and performed with hunger and vitality, it must be said), and Q realizes the depths of Keaton's evil, their mutual attraction does not stop. ![]() And, frankly, wants to get laid! In a contemporary action filmscape where even James Bond is moody and unconcerned with the joys of sexuality, this frank portrayal of "two adults who are into each other from moment one" feels like a breath of fresh air, a patient-but-forward promise that this film will treat you with intelligence, will delve into every aspect of humanity among its obligatory moments of carnage. But she absolutely says "yes" to Keaton's proposition, immediately establishing herself as a complicated, human hero who's into this fun rich guy talkin' suave, and wants to talk suave herself. I expected Q to quip and deflect her way out of this direct proposition a kind of MCU-esque rhythm of self-aware screwball comedy without that genre's understanding that banter often equals flirtation. The film, even in all its old-school sturdiness, is immediately, subversively breaking down our expectations of what actioners "need" to tell us about their protagonists and antagonists. For someone (like me) who walked into this film ready to watch Q and Keaton be violently adversarial to each other, this was a wild surprise from the jump. In The Protégé, when rich criminal mastermind Michael Keaton walks into extraordinary assassin Maggie Q's rare book store (her legit business to hide all the assassin-ing), he straight up comes onto her. ![]()
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