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As the minutes slowly tick by in the lifeless thriller “Cold Blood,” it’s easy to mourn for what might have been. Jean Reno stars as Henry, a veteran hitman seeking isolation in a remote cabin in the Pacific Northwest, which could have made for a contemplative and melancholy reimagining of his signature role in Luc Besson’s “Léon: The Professional.” When Henry is forced to care for a mysterious, injured woman who interrupts his solitude, one envisions a close-quarters psychological cat-and-mouse game between two dangerous and deeply secretive people. It turns out we get neither of those, just a bland and forgettable B-movie that came and went quickly in France last May and looks to do the same upon its day-and-date release in the U.S.
Reno, who turns 71 this month, hasn’t burned through the credibility he amassed with the cool kids during his long-ago career peak working with Besson. He still represents added value, especially when livening up supporting roles. But with “Cold Blood,” he’s not only repeating himself, he’s doing it with a script (written by the film’s director Frédéric Petitjean) that’s stubbornly disinterested in putting any spin on the world-weary hitman scenario, leaving the actor with little to work with.
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His character does know how to field dress a deer and perform minor surgery, though, both of which will come in handy after a young woman crashes her snowmobile near his cabin. With civilization 70 miles away, Henry is compelled to carry her inside, remove large splinters of wood from her leg and nurse her back to health. The convalescing stranger initially lies about her name, then fesses up that it’s Charlie (Sarah Lind). Henry dutifully washes Charlie’s clothes, rustles up her food and gets her walking again, niceties that continue despite both parties seeming to distrust the...
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