Logan Paul - The Good Guy

An extreme close-up on a blonde woman's eyes, the iris lit half pink and half cyan by the city she is standing inside. The same woman moves through a wet neon crowd in a dark bodysuit, sodium-vapour towers smearing past her shoulders, the camera staying at her eye line. Cut to the cell: skin sheened, breath shallow, the back of her head pressed to the wet teal metal of the wall. The film opens by telling the audience exactly which person it is asking them to follow before it shows them anything else.

Wet brick alley, cool teal sodium light. A figure in a peacock-feathered yellow-and-black mask drops from above onto a bald, red-templed enforcer in grey workwear. The enforcer brings up his fists with the wrong kind of calm - trained without being present. The mask, the colour palette, and the body language announce who the protagonist will be before the film shows his face.

Sterile white interior, cold even fluorescents. A leather-armoured commander palms the temple of a drone whose red LED is glitching. Behind, identical bald figures stand and lie on concrete plinths in formation - manufactured rather than recruited. The system is shown as a body that grows itself.

A drone moves at speed through a neon corridor, red temple light blooming, eyes whited out by the model. Cut to Logan astride the hoverbike under a low-hovering white transport - yellow bandana, corseted black-and-yellow leather coat, shoulders forward. The chase has a hunter and a target and the film finally tells you which is which.

Centre-frame tracking down a wet expressway, the hoverbike's peacock-tail array bleeding gold across the asphalt. Cyberpunk towers stack the horizon. The bike's silhouette becomes the through-line of the act - a fan of light moving against a city built from its own advertising.

Logan and a bald enforcer fight on the curved roof of a flying sports car at altitude - jacket open, bandana whipping, a slum skyline of stacked illuminated boxes far below. Hover-craft drift past in the deep background. The choreography is two figures and one unstable surface; the city does the rest.

Logan running flat-out through a polished concrete service gallery, fluorescents striping the ceiling. A bald enforcer punches clear through the wall in slow motion, crater of debris around him, cape lifting. Two intercut spaces, both flat-lit, both architectural - one figure escaping, one figure arriving.

The white control hall. Two red-templed enforcers grip Logan's coat and lift him from the floor; another behind, another collapsed at his feet. The camera holds at his eye line - bandana intact, jacket gaping open, jaw set. The film stops moving for the first time since the cell.

A dim arcade lounge - cabinets glowing pink and cyan, an analyst pinned at her console. The wall implodes inward in a cone of debris. A bald enforcer hits the floor at speed, red temple light still active. The control system's violence has finally arrived in its own civilian rooms.

Logan held upright in the white control hall, jacket gaping open, an enforcer collapsed at his feet and another moving in. Cut hard to a red-templed enforcer flung backward through a corridor, gravity broken. Cut again to a silver-haired femme fatale at a slum-cafe table watching a glasses-wearing analyst panic across from her, then to the cyber-captive ascending the final steps with the gauntlet visible. Three reveals in one beat. The film widens just before it ends.

Logan at a console, the tattooed gauntlet-wielder behind him; cut to both ascending a flight of pale stone steps from low rear angle, coat tails and shoulders aligned. A hand inserts a key card at a counter. Logan turns to camera in a tight close-up - bandana, beard, the bare chest visible through the open coat - eye contact with the lens.

The protagonist sprints across a stage of neon block letters that spell out the production credit, jacket flaring behind him, light spilling from the edges of the type. The film resolves not with a city in pieces but with the hero running over the studio's own name as the closing title comes up around him.