“The Hitman’s Wife’s Bodyguard,” despite its ponderous title, is an entertaining modern screwball comedy with dashes of crime, political intrigue and cyber-hacking. While some of the dialogue is uneven, this does not affect the elaborate, often zany plot. The visual effects and pyrotechnics are first-rate. It is a wonderful popcorn movie.

While this film is a sequel to 2017’s “The Hitman’s Bodyguard,” it isn’t really necessary to see that film to appreciate this one. The gist of that first movie is covered in a session with Michael Bryce (Ryan Reynolds) and his therapist. He bemoans the loss of his license to be a AAA bodyguard. This was caused when one of his clients was gunned down by hitman Darius Kincaid (Samuel L. Jackson). A now-impoverished Michael had to team up with Darius to bring down a war-crimes defendant at The Hague.

The new picture has two main plotlines. The first involves the relationship between Michael, Darius, and Darius’s wife, con-woman Sonia (Salma Hayek). Michael has gone to Capri (not the pants, we are informed) to relax. While on headphones at the beach, he is unaware of the mayhem occurring behind him, which unfolds soundlessly in a beautifully-crafted scene. He is abducted by Sonia.

While fighting their way out of gunfire, she informs Michael that Darius has been kidnapped by the Mafia and that he requested that Michael rescue him. Once they free Darius, they go on the run.

The second thread has the European Union about to force Greece into bankruptcy. A ruthless, powerful Greek billionaire, Aristotle Papadopolous (Antonio Banderas), is not happy with this. He intends to cyber-hack into Europe’s mainframe and destroy all of their data if the EU doesn’t back down.

Interpol agents become aware of this and are seeking to find out where a vital drill bit is that Aristotle also seeks. A desperate agent Bobby O’Neill (Frank Grillo) abducts the three leads and coerces them into going on a job to obtain the drill bit.

Finally, although not a plotline, there is the redoubtable Morgan Freeman. I wish that I could reveal how he relates to the other characters and the storyline, but it would give away too many spoilers to do so.

These rather mundane summaries do not do justice to this film. The banter between Reynolds, Jackson, and Hayek is rapid-fire. Even if the dialogue occasionally is tedious, it very quickly becomes humorous. The interplay and chemistry between these three is a highlight of the movie.

The locations are often stunning. The picture was shot in Croatia, Italy, Slovenia, and the United Kingdom. The production notes indicated that Croatia easily substitutes for the Amalfi Coast in Italy. The sometimes exotic locations and music score reminded me very much of spy and thriller films, in particular the Bond movies.

The action sequences are top-notch, and there are plenty of them. Whether it is getting run over by a car, having shoot-outs, fighting person-to-person, blowing up a city, or a chase scene, the cinematography and stunt work are superb.

Of course it goes without saying that the normal laws of physics are often suspended. The true limits of the human body likewise are thrown to the winds. You just have to suspend your disbelief and go with it.

I have to hand it to the screenwriters. The plot is filled with so many twists and turns that your head spins. This also is due to the rapidity with which these changes happen. The sheer creativity involved in crafting this story is amazing. The writers deftly balance humor and action.

I already have mentioned that at time the weakness of the screenplay is with the dialogue. The picture is short at an hour and 29 minutes, so perhaps there was a need to pad some scenes for length. On the flip side, these characters probably would be annoying in real life, so the dialogue may be spot-on in that regard. It’s just that I am not interested in the annoying aspects of the characters.

Morgan Freeman does not have much screen time, but he makes the most of his moments. His ability to set the tone for and dominate any scene is remarkable. His role in the plot is surprising.

Salma Hayek’s character Sonia is manic but very sensitive. Her role reminded me of the zany actresses in screwball comedies. Of course they were never as vulgar or violent. Sonia grows on you as time goes by. It is hard to imagine another actress in this part.

Antonio Banderas, according to the production notes, could have played his foppish character in a very comedic way. He chose to play it straight and is quite menacing.

The camaraderie between the frenemies Michael and Darius remains strong, even when they are bickering. This film lets them grow as characters in many unexpected ways. Samuel L. Jackson is in his usual fine form, which I think is often taken for granted since he is an effortless actor. Ryan Reynolds is so good at being self-effacing and put-upon.

It had been a while since I saw the first picture. So I was surprised in the credits when an assassin was revealed to be Gary Oldman, reprising his role. He was utterly unrecognizable to me in character.

This movie is rated R. Its violence can be brutal. There are many sexual references that would be highly inappropriate for younger children. But for us adults, we can enjoy this rip-roaring, often over-the-top, twist-filled extravaganza.

Four out of five stars

The world’s most lethal odd couple – bodyguard Michael Bryce (Ryan Reynolds) and hitman Darius Kincaid (Samuel L. Jackson) – are back on another life-threatening mission. Still unlicensed and under scrutiny, Bryce is forced into action by Darius’s even more volatile wife, the infamous international con artist Sonia Kincaid (Salma Hayek). As Bryce is driven over the edge by his two most dangerous protectees, the trio get in over their heads in a global plot and soon find that they are all that stand between Europe and a vengeful and powerful madman (Antonio Banderas). Joining in the fun and deadly mayhem is Morgan Freeman as… well, you’ll have to see.

Starring Ryan Reynolds, Samuel L. Jackson, Salma Hayek, with Antonio Banderas, and Morgan Freeman, Frank Grillo, Caroline Goodall, Rebecca Front, Gabriella Wright, Alice McMillan, Kristofer Kamiyasu, Tom Hopper, Blake Ritson, with Richard E. Grant
Directed By Patrick Hughes
Screenplay by Tom O’Connor and Phillip Murphy & Brandon Murphy
Story by Tom O’Connor