Atomic Blonde

There is a scene about two-thirds into Atomic Blonde that will likely go down in cinema history as one of the most exhilarating displays of visual trickery and good-ol' fashioned stunt work that the action genre has ever offered. Charlize Theron's MI6 spook enters an apartment building in pre-Wall collapse Berlin with a wounded informant and battles gun-toting thugs up and down stairs, in and out of various rooms, using fists, knives, a crowbar, and just about anything else she can lay her hands on. It's a kinetic, utterly dazzling set-piece that eventually takes the violence outside and into a moving car, all in one long, mind-bogglingly complex take. It comes as no surprise that David Leitch, an uncredited director behind 2014's sleeper hit John Wick, is the man calling the shots.

This spectacular moment justifies whatever entry fee you paid to see Atomic Blonde, and highlights just what can be achieved with action cinema when a director like Leitch is the puppet-master behind it. Yet it also underlines the lack of heart and intrigue contained within the rest of this tale of double-agents and double-crosses whenever Theron's Lorraine Broughton isn't kicking butt. She is sent to a Berlin bristling with tension and distrust after MI6 agent James Gascoigne (Sam Hargrave) is murdered by KGB agent Yuri Bakhtin (Johannes Haukur Johannesson) and a wristwatch containing a microfilm list of intelligence agents is stolen. Her task is to find the list, assassinate a double agent known as Satchel, and rendezvous with David Percival (James McAvoy), a fellow agent who has recently 'gone feral'. Matters are complicated when Lorraine falls for young French agent Delphine (Sofia Boutella), and Stasi informant Spyglass (Eddie Marsan) reveals that he has memorised the contents of the microfilm.

Based on Antony Johnston and Sam Hart's graphic novel The Coldest City and re-titled Atomic Blonde to suit the 80's setting, the film looks slick, colourful and chocked full of period detail. While the grey streets of Berlin are laced with ice and stalked by shadowy double agents, the interiors show the German capital in 1989 as a catwalk for the newest fashions and a platform for great music. Theron dons a variety of outfits to suit whatever role she is playing in her mission, naturally looking great in the process, and will likely make many teenagers' dreams come true in her steamy scenes with Boutella. It's all very superficial, with very few characters succeeding to engage on an emotional level. Spyglass, a man trying to save his family from falling into the hands of the Russians and using every tool at his disposal to do so, is the most interesting character in the film. Marsan is always a delight to watch, and it's a shame he doesn't feature more than he does.

Although she certainly looks terrific, Lorraine doesn't really seem to do all that much. Her approach is to enter a room looking fabulous, receive information from the dodgiest-looking person in there, and proceed to dispatch anybody foolish enough to confront her. She's a wafer-thin protagonist, but Theron brings a great physicality to the role, and the actress is now the most accomplished action star working today. As Percival, McAvoy continues to impress with his ability to juggle the good guy, bad guy act. He did so to great effect in Trance and Split, and here he injects a Tyler Durden-esque fashion sense and swagger to his punk- rock rogue agent who may be Lorraine's largest obstacle. Ultimately, Atomic Blonde is a handsome, exciting action movie with fantastic physical performances all round and a central set-piece that will leave you as breathless as its participants. Anyone hoping for a deeper exploration of the shady world it so wonderfully sets up will leave frustratingly underwhelmed.

I love Charlize, but I'm getting a little tired of James, as he seems to be everywhere lately. This movie looked great, and I love the era, especially with the background story of the Berlin wall, but I just didn't care about the characters much, nor the story. The action was fantastic though, and I wish there were more of it. Perhaps a laugh or too occasionally would have helped as well.

So many negative reviews - why I wondered. Then it sunk in. Many viewers misunderstood the premise. This film was adapted from a graphic novel series, basically adult comic books. Don't compare it to The Spy who Came in from the Cold; instead think Sin City.

It's obviously a vehicle for Charlize Theron, and it works. Whenever she's in a scene (which is almost every scene), it's impossible to take your eyes off her. I have one question: When she emerges from the ice bath in the beginning and we see her looking at her reflection, how did they manage the lighting & camera to make her eyes look almost reptilian?

Stylish, eye-popping, bouncy. The story, acting, music are energetic and fun. The plot is not realistic even though it references some of the realities of a time and place: Berlin, Germany, 1989. (I like the disclaimer at the beginning that gives the historical background and then says, This is not that story.)

What this is, of course, is an adaptation of a graphic novel, "The Coldest City". The title "Atomic Blonde" is rather campy, though it suggests the nuclear threat that was on everyone's mind at the time.

Reality, also of course, need not apply here. I agree with those who say that this is the answer to the call for a female James Bond. This probably better than the Broccoli people would do it. It is amusing that people - including me - pair this movie with "Red Sparrow" because the latter movie is actually more realistic than this one in its use of a female spy who uses sex first and violence sparingly because she knows she can't sustain a physical fight with ten men (or even one powerful man) without a gun or at least sharp objects.

Charleze Theron is a kick-butt fantasy. She can do anything physical that she has to. Not only fending off multiple male attackers but jumping off of balconies with makeshift ropes and pulleys and counterweights made out of bad guys.

I liked the twists in the plot and the surprise ending. It is part of the fun.

Loraine Broughton navigates a world where she quickly realizes that everybody is out to betray everybody else, and somebody has decided to have everybody gang up on her. Does she whine about it? Only a little. Mostly she just deals with it by shooting or kicking somebody in the head.

The spycraft is a bit contrived not to say outright laughable. Somebody does not understand that the purpose of a code name is to obscure the person or thing the spies are talking about. So "Spyglass" is a very bad code name for a spy or asset. And "the list" is a very bad code name for a maguffin that is, in fact, a list. (I recently read a spy novel by a real life spy in which an operative's code name is "Tulip". See the difference?)

My pet peeves with some critics are that 1) The present generation did not invent feminism. That is not necessarily a thing that is anachronistic about this movie. In the 1980s, women were already making headway into previously male-dominated professions. 2) This movie was not an ad for tobacco but a reflection of how much a lot of people still smoked in the '80s.

The director who previously helmed John Wick does a good job of creating Eye popping visuals and guiding Charlize Theron (who put a lot of effort into the stunts) through her kickass character but unlike John Wick,this movie suffers from a lackluster script and halfway through I found myself not caring about the characters and the plot