Agents très spéciaux : Code U.N.C.L.E.

When I first saw the previews for Guy Ritche's latest film, "The Man from UNCLE" – a remake of the series of the same name – I decided to approach it fresh. So I avoided watching any of the adventures of Robert Vaughn's Napoleon Solo and David McCallum's Ilya Kuryakin.

I mean, to do otherwise just would not be fair, since my exposure to the original is limited to pop culture references. Why catch up to a show from decades ago only to rip apart the new one? Why give myself false nostalgia?

That said, I cannot tell you whether this is a faithful recreation of the original, a tasteful homage, or perhaps a complete bastardization.

However, I can say that, as a Guy Ritchie action-comedy, it works. The jabs at fictional representations of espionage are delivered with near perfect timing. Even the languishing takes meant to ridicule the tropes, stereotypes and clichés we have all come to see in every action spy thriller do not feel drawn out. All of Ritchie's trademarks are also there, from the diagetic sound that shifts to almost non-diagetic levels as the on screen action becomes a musical montage – a music video if you will – right down to the ubiquitous tongue in cheek, deadpan humour.

While I am sure the more eagle-eyed of viewers could play a game of "spot the anachronism" (that tube frame 4x4 in the previews, for instance), I would actually fault this movie as being too period. They seem to have cherry picked all the things people imagine as from the era. The result is that the clothes are just too chic, the set pieces too on the nose.

Then again, I guess that is the point: You are meant to fall in love with the aesthetics of that period as interpreted by Oliver Scholl's production design, and as captured by John Mathieson's cinematography. The fashion, the accessories... even the cars. Especially the cars! How could any depiction of the glamour of the sixties be complete without one Jaguar E Type? Also, watch out for the cameo of a $38 million Ferrari.

Even with the attention to detail "Mad Men" put into shattering any preconceived notions of the so-called swinging sixties, as well as CNN's "The Sixties" television documentary series' unflinching look at the social turmoil of those times, somehow I still wish I could have lived back then.

Or at least escape into the movie universe they have created.

Because in our world where terrorist groups are committing heinous acts of barbarity that would put any of UNCLE's supervillain enemies to shame, where spy thrillers like "Homeland" had to up the ante because reality is scarier than the fictional world they have created, where the James Bond 007 franchise lost its playfulness long ago and just keeps getting grittier and grittier, and where Donald Trump is the most popular US republican presidential aspirant, the Cold War and its Mutually Assured Destruction definitely seem worth pining for. I mean what is the mere threat of a few megatons of thermonuclear annihilation compared to the Donald?

The movie is cast satisfyingly well enough, with Armie Hammer's Ilya Kuryakin projecting a cold lethality that may have been a bit much. Luckily, this is a bickering buddy movie, where Henry Cavill's Napoleon Solo balances things out with borderline insufferable calm smoothness. For something with a bunch of Brits speaking in American accents, I am a bit surprised they toned down Gaby Teller's accent whenever the character speaks English – I'm sure the Swedish Alicia Vikander could lay an affectation of an East Berliner real thick.

In all, "The Man from UNCLE" is an enjoyable comedy and an escapist fare which just happens to be seemingly set in our past. I even rank it as a solid tale of espionage, with the end reminding me of Roger Moore as Bond, yelling to General Gogol, "That's détente comrade. I don't have it. You don't have it."

I've never seen the original TV series (I feel obliged to offer some preface in these matters) but damn, there's just something so refreshing about "The Man from U.N.C.L.E.". Not just as a genre movie, which sets itself apart from modern spy fare with a certain restraint towards its action scenes (even the torture is unconventional), but as a '60s throwback. It creates a stylized Cold War setting, and it's one I totally wouldn't mind returning to; I love that Morricone/Schifrin score.

The main cast (Cavill, Hammer and Vikander) shares a great chemistry and just seems to fit. This is another reason there should be a sequel. I mean, really, if there are two Sherlock Holmes movies, we deserve at least one more U.N.C.L.E.

Some of Guy Ritchie's movies I do love, and this is one of them.

8/10

I just saw a sneak preview of this movie and I have to say I thoroughly enjoyed it. I will have to preface this review by saying that I have not seen the original show, so I can't say whether this paid appropriate homage to the original, or if it is a bastardization.

The opening sequence chase scene featured heavily in the previews, but surprisingly the trailer did not ruin the scene. It actually came across even more crisp and clever in the theater and was a great beginning for the movie. It perfectly sets the tone of the two spy characters and establishes their respectful rivalry.

The movie isn't wall-to-wall action, but there are enough action scenes to keep the pace lively. There is also a second chase scene towards the end of the movie that is perhaps even better than the opening scene's chase.

I think the real strength of the movie is the comedic element. The banter is quite snappy and a few of the lines I couldn't hear because of the laughter filling the theater. In particular Henry Cavill delivered as the slick cool spy Solo.

Armie Hammer also delivered as the Russian counterpart, Illya. In many ways he plays the straight man to Cavill's comedian, which is actually the harder part to play. It was also apparently the harder part to direct and/or film since a few of his scenes came across as a bit clichéd.

The third part of the group is Gaby, played by Alicia Vikander. The part she played is the most uneven of the group. To an extent it seemed like they couldn't quite figure out her role, so she ended up being a bit of a third wheel. That being said, she didn't detract from the movie, and serves as another foil for the two main characters.

As long as I'm mentioning actors/actresses, I have to say that Hugh Grant did a superb job in a relatively minor role. Also Elizabeth Debicki did an excellent job as the female villain.

Since this is a period piece, I think it's important to point out that they went through a lot of effort to get things right. Fortunately for me, they did such a good job that it, that it didn't feel like I was being beaten over the head with the 60's. There were a number of iconic outfits, but overall it was subtle enough that I wasn't jarred out of the movie, which says a lot about the great job they did.

Overall, I thoroughly enjoyed the movie, and would recommend it for anyone who enjoys spy movies, or action/comedies. Also, if you've seen the trailer and thought it showed promise, then you should definitely see the movie, because the trailer doesn't show all (or even most) of the good parts, but gives a good sampling.

I love this movie so much. The first time I watched it with a friend, we jumped back in the movie so many times to rewatch all our favourite parts over and over again. I've watched it a couple of times, and I still like it so so much. I've always liked spy movies. Growing up watching Bond. This movie is fun and clever and it's just a great movie. I might just go and rewatch it right now actually.

Yes, I know this review is stupid positive. But when you find a movie that you can enjoy without finding any big mistakes or things you get annoyed about, you just have to feel happy.

Never watched the show, so can't compare the two, or whether or not this is a faithful adaptation of it or not, but I loved this film. It perfectly rides the fine line between straight 1960s spy movie throwback, and satire of one.

Villain is pure 1960s vamp/ femme fatale, Henry Cavill and Armie Hammer's chemistry alone makes this worth watching. Hammer's twitch as his anger reaches boiling point is a great bit of detail. Cavill really reminded me of Roger Moore's Bond, specifically from The Spy Who Loved Me. He has a suave, "Trust me, I know what I'm doing" attitude throughout.

Several scenes creatively have the action taking place in the background, while the focus is on the foreground. A perfect example, and maybe my favourite scene in the film, is Cavill sitting in a truck, basically picnicking, with a large sandwich and bottle of Chianti, while boat chase is playing out in front of him, reflected on the windscreen.

The film is rated PG13, but it doesn't look watered down to get that rating, ... Henchman's electrocution torture scene was both graphic and simultaneously funny- another case of the action playing out in the background, while Cavill and Hammer debate the fate while in the next room.

The plot is a bit of a mess, especially toward the end, but a great cast, sharp dialogue, and great attention to detail, and good action makes this a winner