Reynolds tries valiantly to make the one-liners work but “THWB” is no “Deadpool.” (Though the writers do get bonus points for putting the word “peckish” in Reynolds’ mouth.) Grant, Tom Hopper - going through the motions of trying to make the best of the screenplay credited to Tom O’Connor (who wrote the first film), Brandon Murphy and Phillip Murphy. Ultimately, the three of them have to stop yet another power-mad European mega-villain - this time Spanish actor Antonio Banderas as Greek madman Aristotle Papadopolous - from sending Europe reeling back into the Stone Age by unplugging it from the power grid.īut the plot is less than meaningless as the whole thing sags under the weight of a gang of well-known actors - Reynolds, Hayek, Jackson, Morgan Freeman, Frank Grillo, Richard E. Kincaid’s foul-mouthed wife, Sonia (Salma Hayek), needs him to save her husband from a gang of thugs. Of course, just as with the mob, Bryce finds that even such an idyllic playground as Capri isn’t far enough away from being pulled back in. She instructs him to take a nice, long vacation, perhaps to Capri (“like the pants?,” he asks - and this is one of the better jokes.) Jackson), Bryce has been stripped of his bodyguard license, a job that was his entire identity.Īs “THWB” opens, he’s seeking advice from his therapist (Rebecca Front), who tells him he needs to step away from his obsession with being a bodyguard and the violent life that goes along with it. Because of everything that happened in the preceding film involving trying to protect hit man Darius Kincaid (Samuel L. Set four years after the conclusion of its predecessor, bodyguard Michael Bryce (Ryan Reynolds) finds himself in the middle of an emotional crisis. If there’s one film that could make you wish that all theaters had not only stayed shuttered after the pandemic but burned down, it’s “The Hitman’s Wife’s Bodyguard,” a totally unnecessary sequel to the 2017 hit “The Hitman’s Bodyguard.” Full of action without thrills, comedy without laughs, noise without meaning and violence without reason (or even any cool combat choreography), it’s a headache with a Hollywood marketing budget.

Jackson and Ryan Reynolds in 'The Hitman's Wife's Bodyguard' Photo: David Appleby / David Appleby/Lionsgate

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