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Given the star-studded cast (Jason Statham, Hugh Grant, Aubrey Plaza, and Cary Elwes), the lavish foreign settings (Madrid, Morocco, and Cannes), and the general fun of a high-speed chase to find a MacGuffin of potentially world-ending proportions, Guy Ritchie’s “Operation Fortune: Ruse de Guerre” is a strangely limp affair. But something is missing, specifically, stakes. Nothing is at stake. Ritchie’s narrative techniques typically involve tinkering with structure and linearity, twisting the narrative with feints and flashbacks, all driven by quick-witted, sarcastic banter. There isn’t much evidence of any of that in “Operation Fortune.” Even as caricatures, the characters never come to life. Despite having some parodic elements, “Operation Fortune” is not broad enough to qualify as a spoof. Strangely, it’s vacant.
Jason Statham plays Orson Fortune, a sought-after assassin occasionally hired by the British government to carry out challenging missions of paramount importance. Nathan (Cary Elwes), who is here acting as the British government, is tasked with guiding the unreliable Orson. We learn about Orson’s numerous fears before we even meet him, making him a risky hire. Orson then shows up, and he comes across as your typical laconic-speaking action hero. He gets on and off several planes while suffering protracted foreign flights without showing any signs of phobia. So many comical opportunities that were lost! Why create the phobia and then never display it?
Finding a stolen suitcase containing a mystery artefact that is set to be sold on the black market, the shadowy underworld of arms traffickers, drug runners, state secrets, and other illicit activities, is the assignment, should Orson choose to accept it. Whatever is in the briefcase—which is unknown—must not get into the wrong hands because it is so deadly. (The film’s midpoint contains the answer to the riddle of what’s in the briefcase. Although it is intended to be suspenseful, this does the opposite.) Orson assembles his tiny team, which includes computer whiz Sara Fidel (Aubrey Plaza) and GPS nerd J.J. Davies (Bugzy Malone), who spends a lot of time staring at screens and reporting positions. Infiltrating a very exclusive party held by billionaire George Simonds (Hugh Grant) on his yacht is their first mission. Simonds hangs out with a highly shady crew that includes two creeps from the “biotech” industry and a roving crew of inebriated robbers who are all after the suitcase.
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Since getting an invitation to this party is impossible, the team blackmails Danny Francesco (Josh Hartnett), an unwitting movie star, in the hopes that the cagey Simonds will find him alluring. It functions. The group enters the party by having Danny stand in front, Orson pretend to be Danny’s manager, and Sara pretend to be Danny’s fiancée. When George sees movie star Danny Francesco, he becomes ecstatic! Hugh Grant, who was so funny in Ritchie’s “The Gentlemen,” is rather uninteresting in here. The act does, however, have some strong qualities, such as his corrupting deadened voice, flat gray hair, and colored glasses that remind one of Jim Jones or Robert Evans. He strikes me as a dead-eyed gargoyle who is cooing.) There are hucksters, lies, and close calls. Conflicting factions of independent contractors, who are all after the briefcase and must be stopped using any means necessary, complicate the scheme.
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Eccentricity is mostly absent. Ritchie’s movies frequently feature oddball characters with odd vocalizations, gestures, and peculiarities. In contrast, “Operation Fortune” characters are unoriginal. The exchanges of the spy squad lack the zing of conflict or even humor. J.J. is unremarkable. Sara is shown as being (sometimes) awkward and nerdy, the sort of person who tries and fails to make jokes. She explains the joke when no one starts to laugh. This occurs repeatedly but doesn’t develop into a “bit.” Plaza, one of the most outstanding actresses working today, wastes most of the movie staring at a computer screen. Orson is largely unintelligible despite the fact that he is supposed to be phobic, which may have been a lot of fun. All of these actors are humorous, but nobody is allowed to be funny.
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Excepting Joshua Hartnett. Danny begins as your typical arrogant movie star, but as a result of the traumatic event of being taken from Hollywood onto a yacht in the Mediterranean by three spies, he gradually changes into a different kind of guy. Only his character arc has any real depth in “Operation Fortune.” The atmosphere improves whenever he is on screen. Danny is continuously flustered, afraid, out of his element, and in a state of dizzying disorientation. His quest concludes with a conclusion that is pleasantly cynical. Danny has the impression of being the main character, but he actually serves as the sidekick to the dull spies who are glued to their computers.
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Even Ritchie’s occasionally merciless use of sarcasm in his screenplays comes out as forced and warm-hearted. Nothing catches. There isn’t any perspective. The caper “Operation Fortune” isn’t even a caper.
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