Available for streaming on various platforms, “Freelance” falls short of being a true cinematic experience. Despite its hefty $40 million budget, recognizable cast, and semblance of a plot, the film seems to have only met the minimum requirements for a release on Video On Demand (VOD) and a limited theatrical run. Pierre Morel’s project comes across as disappointingly lackluster, drawing parallels to superior films throughout its duration. Notably, the film’s attempt at merging action and comedy results in John Cena and Alison Brie, both generally likable actors, becoming forgettable avatars lost in the background of this questionable cinematic endeavor.
John Cena portrays Mason Pettits, a character with an AI-generated name and a background as a former special ops soldier. Introduced in a mission gone awry, Mason is burdened with trauma, a troubled marriage to Alice Eve’s underutilized character, and a perpetually quizzical expression. The plot unfolds as Mason is recruited by his ex-boss (Christian Slater) to serve as a bodyguard for journalist Claire Wellington (Alison Brie) during her journey to the fictional war-torn country of Paldonia for an interview with President Juan Venegas (Juan Pablo Raba). The narrative quickly escalates into an assassination attempt and coup, leading the characters into the undefined jungles of this fictional nation.
“Freelance” exudes an overwhelming sense of emptiness, lacking in romance, comedy, or genuine action. Although the film makes feeble attempts at incorporating these elements, the absence of artistic depth hinders any meaningful connection with the audience. Despite personal preferences for romantic comedies and adventure films, the experience of watching “Freelance” proves draining. The expected sparks that should accompany such a film—chemistry between actors, believable stakes, and unexpected action sequences—are noticeably absent, leaving viewers with the sensation of watching a film outline rather than a polished final product.
Pierre Morel, once known for his dynamic films like “District 13” and “Taken,” appears to have lost his creative edge in “Freelance.” The director, whose earlier works exuded vitality, now seems constrained by industry expectations, resulting in uninspired cinematography, a lack of cultural depth, and mundane action scenes. Even the actors themselves appear disengaged, with a notable moment where Alison Brie’s character praises a scene, prompting an incredulous response from the audience. In its current state, “Freelance” is playing in theaters.