Red Notice: The treasure hunting heist film we didn’t know we needed

Gretchen Lee–Copy Editor

I love treasure hunting movies. From National Treasure, to The Librarian, to The Mummy, I would classify this as my favorite genre. Treasure hunting movies are campy, fun, and often have excellent plot twists and character development that, as a whole, make the viewing experience incredibly positive. 

I also enjoy heist movies. I like the elaborate plans, the recovering from plans going wrong, and the smart villains. While it’s a genre I don’t dip into on a regular basis, I think heist movies can be a lot of fun. Thus, I consider Red Notice to be nearly perfect in the fact that it balances the best parts of both movie categories in a hilarious, smart, and charming plotline that captivated my attention.

An FBI profiler and a con man team up to find the lost, golden eggs of Cleopatra in a race against time, Interpol, and the world’s most notorious, and mysterious, art thief: The Bishop. This unlikely duo must overcome their obvious differences in order to solve puzzles, escape enemies, and sneak their way to the treasure and its associated rewards: freedom for the con man, and clearing the FBI agent’s name. 

Though tropes and character archetypes filled this movie, it still felt like a fun and fresh breath of air. It had all the beloved, campy adventure of a treasure hunting movie with the critical thinking skills required of a heist movie. In an era where movies either try to be edgy, remake past successes, or feel like a lifeless money grab, Red Notice refreshed audiences with a light, expertly-crafted character. It showed self-awareness without being too silly. It planned plots well without taking itself too seriously. Most importantly, audiences can invest in the three primary characters, even with little background on any of them, while appreciating others (several of whom are never even given names). 

Ryan Reynolds and Dwayne Johnson, not a combination of actors I ever thought I would see in a film, pleasantly surprised me. Johnson’s light but serious demeanor perfectly offset Reynolds’s characteristic comedic bits. Even though Reynolds, predictably, provided the comic relief, he still served a purpose in the plot while being, as far as comic relief characters go, quite competent. Even with cracking jokes every five minutes, it still made sense for him to be one of the most successful art thieves in the world. Furthermore, the developing “bromance” between Johnson and Reynolds was, to put it simply, delightful. 

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