"I chose this life, and some day it's going to get me killed. But not today."
While I was initially disappointed to learn that the
directing duo behind 2014’s spectacular ‘John Wick’ were going their separate ways,
their solo ventures have not exactly been lacking. Chad Stahelski continued to
work within the world he had created with the brilliant ‘John Wick: Chapter 2’
and David Leitch was quickly signed onto direct the sequel to a little movie
known as ‘Deadpool’. But before that, Leitch is also helming this action spy
thriller, led by Charlize Theron.
In 1989, on the eve
of the collapse of the Berlin Wall, MI6 agent Lorraine Broughton (Charlize
Theron) is dispatched to the German city in search of a stolen list containing
the i8dentities of a number of undercover operatives as well as being tasked
with assassinating a double agent known only as Satchel. But to do so she will
have to navigate swarms of KGB agents, a labyrinth of unknown loyalties and her
eccentric contact David Percival (James McAvoy).
If Charlize Theron does end up going the same way as Tom
Cruise (in that after a number of dramatic roles the actor finds a career boost
in the action genre) as a result of her frankly astonishing turn in ‘Mad Max:
Fury Road’ then I can safely say that filmmakers have made a good choice in
terms of crafting the next action superstar. Her performance in ‘Atomic Blonde’
is a testament to her unique abilities as an actor that make her perfect for
this genre. She possesses an icy steeliness that makes her presence highly
intimidating but also just enough human qualities for the audience to latch
onto the more empathetic side of her character. ‘Atomic Blonde’ actually
contains more dramatic heft than one would originally assume but Theron takes
it in her stride just as well as she does with the ass-kicking scenes.
But despite Theron’s huge presence the rest of the cast are
all able to keep up with her. James McAvoy in particular stands out as a temperamental
supporting character whose motives remain shrouded in eccentricity, meaning
that when the movie brings forward the idea of betrayal and loyalties, everyone
is a suspect. The same can be said for Sofia Boutella as a naïve French agent
that becomes romantically involved with Theron’s character. I would be lying if
I said that this aspect of ‘Atomic Blonde’ felt integral to the movie but it
did add to its emotional impact (if only slightly) and it’s also a pleasant
surprise to see a relationship of this kind play out in a way that doesn’t try
to make it a big deal, especially in this genre.
The fact that the movie is set in the midst of the Cold War
also adds a lot. Not only does the narrative make full use of this unique era
of history both in terms of set pieces and overall story structure, but Leitch
clearly wants to make full use of his late 1980s vibes. The neon lighting
distinct colour palette give the movie a rich look that sets it apart from any
other modern action movie on a stylistic level. If anything the bright lights
of a more laid back scene only serve to make the more brutal action at the centre
of the movie more impactful due to their contrast.
At the end of the day, it is that action which stands as the
crowning achievement of ‘Atomic Blonde’. Each new sequence is not only
brilliantly creative but also unique in its stylistic rendering. From a moving
car, to an overlaying balcony and an abandoned cinema, they action is always
captivating and always innovative. Incidentally, any action scene that includes
heavy references to Andrei Tarkovsky is something I can respect. But the best
of all these sequences is undoubtedly one that takes place in the movie’s third
act. It’s performed with choreography that could rival ‘The Raid’ but executed
in one glorious long take that would make John Woo proud. Not only that but the
action itself is relentless and raw in how it unfolds. Bad guys do not go down
with one punch and the protagonist stays far from unharmed, the longer Theron
fights on the more fatigue begins to weigh on her and then even after the
action is over she sports the injuries from it for the rest of the movie as its
entire time frame takes place over just 13 days.
The only major issue to be found within ‘Atomic Blonde’ is
the narrative that has to support said action. The plot about espionage and
betrayal somehow feels both underwritten and convoluted at the same time, with
too many red herrings and repetitive plot points to feel wholly engaging. Of
course, ‘John Wick’ did not have what you could call an intricate narrative,
but the movie itself knew that the plot was just a frame from which to hang
action sequences from and therefore never drew much attention to it. ‘Atomic
Blonde’ though keeps re-visiting it as if it expects the audience to be
invested in it when I could not say I was. But as soon as the action started
again I had little else to worry about.
What it lacks in writing, ‘Atomic Blonde’ makes up for in
terms of its stylish direction, strong lead performance from Theron and
staggeringly brilliant action scenes.
Result: 7/10
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