Atomic Blonde (Leitch; 2017)

The year is 1989, the Soviet Union’s collapse is all but done with revolutions happening throughout their territories and communist regimes toppling left and right.  In Berlin Russian, British, and American spies are all trying to get their hands on “The List”, a comprehensive registry of all known intelligence agents for every country involved in the Cold War, including the real name of “Satchel”, a double agent all sides have an interest in getting their hands on.  Charlize Theron is Lorraine Broughton an M.I. 6 Agent who has the talents her bosses need when the man who had The List, who also happens to be a former lover of Lorraine’s, is killed in East Germany.

Atomic Blonde is the major motion picture directorial debut  of former stuntman David Leitch (he has directed a Deadpool short and parts of John Wick previously).  The stunts are top notch, of course, given his background, but even more impressive is his camera work.  He and director of cinematography Jonathon Sela give us a film which appropriately mixes up its styles to give us some really impressive visuals including one ten to fifteen minute long fight sequence in an apartment stairwell which seems to have been done in one long cut.  Directors are commonly known as having a type and Leitch seems to be a natural when it comes to the art of action from the standpoint of both the people and the visuals involved.

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Charlize Theron has been impressing me for decades giving us hardly a bad movie and never a bad performance going all the way back to the early 2000’s and her turn in Monster which impressed the world with her talent and her bravery.  In Atomic Blonde she shows off her bravery yet again as she bares everything and does her own very physically demanding stunts in her 40’s.  Theron has long been showing she’s more interested in her reputation as a serious actress than as a beautiful woman, and while her performance here is certainly more about plot and action than it is about character, one of Atomic Blonde’s main weaknesses is a lack of real character development, she once again proves her dedication to the craft of acting.

James McAvoy performs our other primary character David Percival.  McAvoy is another actor who is known for his talent  when he could be coasting by on his good looks.  Here he does his job well giving us person whom we cannot nail down.  In a film which relies on suspicion to move the story, McAvoy gives us someone we want to trust but know what a bad idea that would be.  His performance is one which relies on body language and glances, and subtle variations between the words he is speaking and the actions he performs.  He perfectly treads the thin line between subtlety and obvious to give us the necessary doubt without ever having to figuratively give the audience a wink.

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The story is a straightforward one with not a single subplot to be found, but the main story is intricate and winding enough that you could get lost if you’re not paying attention to details.  There are revelations made which can change the way earlier scenes and characters needed to be viewed, and after the fantastic finale to this film when we think the final piece of the puzzle is put into place, we realize just how much of what we experienced was a game meant to deceive us through tropes and misdirection.  In a way the plot is the most simple of all, find and bring home “The List” is really its entirety, but there’s genius in the way this simplicity can lead us down so many misleading paths.

A definite make or break element of Atomic Blonde is its soundtrack.  As someone who did the majority of his growing up during the 1980’s I was really into the movie’s use of it’s music made up entirely of 80’s dance club tracks.  The film has a constant beat, and much like Baby Driver, the action moves along to that beat and there is more than one scene obviously choreographed to match the music which accompanies it.  I thought it added to the already dynamic action of the film, but if 80’s club music isn’t your thing, I can see where the non-stop barrage of it could become an annoyance as the film moves on.

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Final verdict:  Atomic Blonde won’t give you deep characters to study nor enlighten you with its nuanced world view, but if you can live without intellectualism you are in for a treat as it is a really smart, non-stop action film with a very recognizable style.  It can be absolutely brutal at times, and Atomic Blonde earns its R-rating more than perhaps any other spy film I’ve seen, and that element is what keeps the movie modern when everything else about the film is a throwback to 30 years ago when synthesized music reigned, cigarettes were cool, break dancing was in, and the motto world wide was “it’s all about me.”  I not only highly recommend Atomic Blonde, but I predict that this is a film that will one day reach a classic of the spy genre status.

X-Men: Apocalypse (Singer; 2016)

Take Bryan Singer, the director who brought us X-Men, X2, and X-Men: Days of Future Past, the three films largely regarded as the best three films in the X-Men movie franchise to date, add a cast which includes several Oscar and Golden Globe winning actors and so many nominations amongst them you would be silly to even bother trying to wave sticks, and finally mix in some veteran special effects studios that have worked on some visually groundbreaking action films, including some of Marvel’s best films, and apparently you get an incredibly amateurish, ridiculous bit of cinematic garbage.   This is one of those recipes in which  too many good ingredients make a product which ends up being really foul .

There are a few pleasant things to say about X-Men: Apocalypse.  Kodi Smit-McPhee’s turn as Kurt Wagner a.k.a. Nightcrawler is wonderful.  The character is written well, and Smit-McPhee runs with that good characterization and nails Nightcrawler’s naive charm and good heart which makes him such a fan favorite.  Michael Fassbender also turns in yet another good performance as Magneto, though I don’t feel the writing for the character was that great in this case, but more on that later.  This is the first time that Xavier’s School for Gifted Students really seems like a school and not just an opulent building with kids in it that gets blown up, and seeing it in that light, the light that it should have been all along, really shows what opportunities have been missed in all of the earlier films.  Finally, Evan Peters is wonderful once again as Quicksilver, and even though I felt his showcase scene here is really just a rip off of his scene in X-Men: Days of Future Past in an attempt to get some cheap goodwill, I can’t deny that Peters really is a lot of fun to watch.

That’s about it for the good.

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Start with the good then go to the bad?  That sounds familiar.

As for the rest, we have a poorly written movie with half-assed performances and even more half-assed special effects work.  Kinberg, the main writer for the screenplay, gives us a script that doesn’t understand its source material,  clumsily rams characters’ motivations into the script unless motivations are just glossed over completely, has completely unmemorable dialogue, characters that don’t seem to serve any purpose to the story at all, and uneven pacing.  Singer doesn’t obviously help any of this with his directing or story work, either, or at least if he did, I have to wonder how this script could have been green lit at all.

The special effects work in the film, particularly the really effects intensive scenes toward the climax of X-Men: Apocalypse, are so sloppily done that they are nearly unforgivable.  Perhaps the visual artists were trying for a unique style, but what ended up happening was visual effects that are distracting with just how unrealistic and obviously added in they were.  Some bits like Angel’s wings and Nightcrawler’s “bamfs” were well done, but anything done on a larger scale looks like something that would have called attention to itself even 10 years ago, let alone in a modern film.

The acting in this film, other than the handful of performances mentioned above, is either phoned in or amateurish.  Jennifer Lawrence as Mystique, in particular, stands out as she glassy eyed monotones her way through all her scenes refusing to put on the blue makeup and body suit which is the trademark of her character.  It doesn’t help that the writers are doing everything they can to make Mystique, a semi-regular villain in the comics, into a main character despite the fact that doing so makes no sense whatsoever even when you just take the movie universe into account.  James McAvoy isn’t given enough to do here, and when he does get a chance to show off, he blows the opportunities.  Oscar Isaac is miscast as the titular villain, and while there is nothing particularly wrong with his performance, it simply is a character that doesn’t suit him in the first place.  Finally, the rest of the actors, particularly Olivia Munn as Psyloche, give their all, but with really bad direction and end up just looking terribly hammy especially with the wooden performances of the veterans.

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Pictured:  the unfortunate highlight of Olivia Munn’s performance.

The X-Men franchise is one of widely varying qualities.  The best of those films to date had been directed by Singer, but his streak has unfortunately come to an end.  Right now I’m not sure whether I’m rooting for the next film to right the franchise’s course, or if I want more failures so Fox will give Marvel back their characters to do not just properly, but perfectly.

Rating:  3.0 out of 10