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THE ADAM PROJECT is the derivative, sentimental Netflix algorithm hard at work

We sure did something to warrant two films in the space of a year starring Ryan Reynolds and directed by Shawn Levy, but what that is remains an open question.

The Adam Project arrives hot foot in the wake of Free Guy which, last summer, projected Reynolds into the virtual reality world of a plucky NPC who gains self-awareness, free to evolve into a slick action badass able to win the heart of Jodie Comer’s gamer girl. Free Guy had something of an old-school blockbuster about it, fuelled up with 21st century visual aesthetics, and though not always successful in the ambition it had, Reynolds was compelling and enjoyable in a role that, to a degree, cast him against type.

Arguably, ever since Deadpool turbocharged his career after the failure of Green Lantern and a fairly plodding cycle of comedies and action vehicles, Reynolds has understood that the best on-screen persona is one combining his natural propensity for all-American sarcasm with an ironic self-deprecation, even geeky subtext, which endears him to an audience beyond his matinee idol good looks. Levy understood this equation in Free Guy. He doesn’t quite get it with The Adam Project in the same way.

This is not as successful or interesting a film. Indeed, The Adam Project is yet another example of how the Netflix algorithm just isn’t to be trusted.

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