Despite its star-studded cast (Jason Statham, Hugh Grant, Aubrey Plaza, Cary Elwes), glamorous international settings (Madrid! Morocco! Cannes! ), and the general excitement of a high-speed chase to track down a MacGuffin of potentially world-ending proportions, Guy Ritchie’s “Operation Fortune: Ruse de Guerre” is a strangely limp affair. Nonetheless, there are essential elements lacking. There is absolutely nothing at stake. Ritchie’s narratives are notorious for their erratic structure and nonlinear progression, their use of feints and flashbacks, and their reliance on rapid-fire, sardonic banter. There is no genuine proof of any of that in “Operation Fortune.” Even as caricatures, the characters are never developed. The plot of “Operation Fortune” is reminiscent of parody, yet it’s not wide enough to constitute a spoof. Strangely, there is no one else here. Orson Fortune, portrayed by Jason Statham, is a highly sought-after operator whom the British government occasionally hires to carry out sensitive missions. Nathan (Cary Elwes), a representative of the British government, is tasked with keeping the erratic Orson on course. We are warned that Orson is a dangerous employee due to his many anxieties before we even meet him.
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But then Orson shows up there, and he seems like any other laconic-speaking action hero. He takes many flights during the course of the book, including some long international ones, without showing any signs of anxiety. A lot of funny situations were lost. I don’t see why you would establish the phobia and then never exhibit it. Orson has been offered the opportunity to recover a stolen suitcase containing a mysterious artefact that will soon be sold on the black market, the shadowy underworld of arms traffickers, drug runners, state secrets, and other criminal operations. The contents of the briefcase are a mystery, but whatever is inside must not fall into the wrong hands. (We don’t learn the answer to the briefcase’s contents until about an hour into the movie. That’s supposed to be suspenseful, but it’s having the opposite impact. Orson recruits J.J. Davies (Bugzy Malone), who is tasked with looking at GPS screens and reporting whereabouts, and Sara Fidel (Aubrey Plaza), a computer genius who can hack into anything.
Their first mission is to sneak onto the boat of millionaire George Simonds (Hugh Grant) and attend an exceptionally high-profile party. Simonds associates with a shady bunch who all want the briefcase, including two creeps working in “biotech” and a travelling band of drunken robbers. Blackmailing an unknowing Hollywood star named Danny Francesco (Josh Hartnett) in the hopes that he will be celebrity catnip for the cagey Simonds is the team’s last hope of attending the party. Indeed, it does the trick. With Danny leading the way and Orson and Sara pretending to be Danny’s manager and girlfriend, respectively, the three of them are able to enter the party. Whenever George lays eyes on Hollywood star Danny Francesco, he becomes ecstatic. Compared to his performance in Ritchie’s “The Gentlemen,” in which he starred as a comedic relief, Hugh Grant here seems very listless.
The performance isn’t perfect, but it has its moments (his flat grey hair and tinted spectacles bring to mind Jim Jones or Robert Evans, and his insinuating deadened voice oozes depravity). He sounds like a gargoyle with dead eyes and coos. Controversy, deception, and narrow escapes follow. There are competing teams of freelancers who want the briefcase and must be stopped by any means necessary, adding complexity to the prank. Overall, it’s the quirkiness that’s lacking. Characters in Ritchie’s movies often have bizarre habits of speech and behaviour. In comparison, “Operation Fortune’s” characters are somewhat one-dimensional. There’s no tension or even comedy in the espionage team’s exchanges. J.J. is a boring person. Sara is meant to be the type of person that tries and fails to crack jokes since she is geeky and uncomfortable (but just on occasion). She explains the humour when no one laughs.
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This repeats repeatedly, but it never becomes a coherent “bit.” The picture wastes one of today’s most gifted actresses, Plaza, by having her do nothing except stare at a computer screen for most of its running time. Orson’s claimed phobias should have been hilarious, but instead, he’s mostly a blur. All of these performers have comedic chops, but they never get to use them. Excepting Joey Hartnett. Josh Hartnett. Even though Danny begins off as an arrogant Hollywood A-lister, the horrific experience of being abducted by three spies and held captive on a boat in the Mediterranean forces him to undergo a profound character change. Only he has any significant development during “Operation Fortune.” When he appears on TV, it immediately lifts everyone’s spirits. Danny is always bewildered, unable to speak for fear of embarrassing himself, and generally out of his depth. His adventure concludes on a note of refreshing scepticism. Danny thinks he’s the main character, but he ends up being a sidekick to the boring spy types who just sit at computers all day. The odd scathing joke, which is typically so merciless in Ritchie’s screenplays, comes out as warmed over and perfunctory. There is no spark here. There is no perspective offered. The heist in “Operation Fortune” doesn’t really work.
The movie is now showing.