More than anything, the role proved that de Armas is a box office powerhouse, even if she’s barely in the movie! The Gray Man (2022)Īnthony and Joe Russo’s pulsing action thriller, The Gray Man, seemed poised to be a runaway hit for Netflix considering the brother directors’ proven success with their MCU offerings and the stacked main cast including Ryan Gosling, Chris Evans, and our girl de Armas. The only shame is that she’s in the film for only about 15 minutes despite being advertised heavily in the lead-up to the release. As superspy Paloma, she shatters Bond Girl tropes by proving to be 007’s equal at both kicking goon ass with style and looking insanely cool sipping on classy drinks at swanky bars.
It’d be easy to write off de Armas as just another Bond girl in Cary Joji Fukunaga’s No Time to Die, but an actress of her caliber and range deserves more, and that’s what she got… sort of. This is all a narrative diversion, of course, and de Armas’s natural affability and magnetism help immensely to sell the ultimate twist while asking an important question: Can murder make you a better person? No Time to Die (2021) As the soft-spoken Marta, you’d never imagine she’d be involved in the Thrombey family’s bloody affairs to any extent, particularly because she’s surrounded by so many shifty characters that she gets lost in all the bickering and barbs. You wouldn’t know it at the movie’s outset, but de Armas emerges as the key player in Rian Johnson’s intricate whodunnit, Knives Out. The warmth and optimism she brings to the screen is essential to the film’s success, making the performance a must-watch for those new to de Armas’ work. “She shows more compassion and love and sacrifice than anybody else in the movie,” she told the El Paso Times back in 2017. The onscreen romance was as philosophically fascinating as it was visually stunning, and de Armas was nothing short of enchanting any time she graced the screen.
#ANA DE ARMAS KNOCK KNOCK MOVIE#
But evidently, not even a language barrier could stop the runaway Ana de Armas hype train.ĭe Armas put on one of the most unforgettable performances in any sci-fi movie in recent memory as Joi, the holographic soulmate (or manipulative computer program, depending on who you ask) to Ryan Gosling’s K in Denis Villeneuve’s Blade Runner 2049. When de Armas was cast in Todd Phillips’ 2016 dramedy War Dogs alongside Jonah Hill and Miles Teller, she barely knew any English, telling The Hollywood Reporter, “I wasn’t really sure what I was saying” throughout her performance, and that she “learned lines phonetically.” It’s no small feat to make a splash in Hollywood for any actor or actress, let alone one who doesn’t even know enough to hold a conversation with her co-stars when the cameras aren’t rolling. Is there anything she can’t do? This wild-eyed performance would suggest not. But de Armas is absolutely riveting and shows her range, exuding innocence one moment and sheer insanity the next. It relies more on exploitation than provocation. The film is a bit contrived and spotty in how it’s laid out, making the social commentary less potent than it could have been.
“In reality, Monroe was acutely aware of the perception of her and how, where possible, she could fight it.De Armas’s English-language debut was in Eli Roth’s psychosexual mind-fuck of a movie, Knock Knock, in which de Armas and Lorenza Izzo play underage girls who tease and then torture a hapless family man (Keanu Reeves) in his own home. “Monroe knew she had power in her fame, and her decision set the wheels in motion for the end of the studio system in 1954,” she writes.
In GQ's own Blonde post-mortem, writer Lucy Ford highlights the lack of agency in Dominik and de Armas' version of Monroe - marking it out, if implicitly, as an uncaring work of fiction.
#ANA DE ARMAS KNOCK KNOCK SERIES#
“De Armas is committed to her performance, willing as she is to be the beautiful canvas upon which Dominik paints increasingly frightening misogynistic ideas.” New Yorker's Richard Brody writes that the movie is “ridiculously vulgar … the character endures an overwhelming series of relentless torments that, far from arousing fear and pity, reflect a special kind of directorial sadism.” Neither has interiority to speak of, beyond pain,” she writes. “Her Monroe vacillates between a weeping, yearning, and vulnerable girl and a glittering screen icon prone to pill-addled hazes. New York's Angelica Jade Bastién also laments the loss of Monroe's interiority in Blonde, placing blame at both the feet of Dominik and de Armas' performance.
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