The silhouette showdown from "Kill Bill" and a memorable Bowie cue from "Inglourious Basterds" are lifted, which did take me out of it. C'mon Leitch! You don't need to steal; the chilly, synth-laden, neon-drenched atmosphere pioneered in "John Wick" is back, and Charlize, the Queen of Cool, shines in a calculated, wry, bravely physical turn. The fight choreography is predictably, laudably bananas.
Gah, this had so much potential to be great - the setting, the clothes, the music, Theron, the music, the action, the music - but it's let down by an over-convoluted script that expects us to care and be shocked by its twists and turns, but misses the boat. But damn, that staircase setpiece.
Frenetic, stylish as hell, and a twisting, turning spy thriller that I'm still not completely sure I have a firm grasp on - but I really, really liked it. Will need to watch again and this rating could go up to 5/5. EDIT: Re-watched and this up to 5/5 for me. So cool, so well-directed, and ultimately just a great, intriguing Cold War spy thriller.
The script saddles this movie with an unnecessary framing device and a poe-faced, surface-obsessed attitude that doesn't allow Charlize Theron to display an emotion beyond chilly disdain (it's easy to forget just how funny the "John Wick" movies can be). But action buffs will find this absolutely worth watching for every moment Theron lets out a guttural yell and beats a musclebound man to death with her high heels.
Right clothes, sets, cars, lingo, songs (oh New Order!), style, 'politics', wrong script. Loved the 'sampling' polemic of '89. Remember very vividly the fall of the wall, I was a wee lad of 5 and i was like 'erm, aren't they gonna get crushed under the rubble when the wall falls down over them...?' Misfire. McAvoy steals the whole show and Theron pulls a Huppert coming off too mechanical and glacial. 'Tinker Sailor'▽
This is a very sexy, cynical, and badass spy thriller. Charlize Theron gives an incredibly badass performance here and the fight choreography is some of the best in recent years making the audience feel every breath and mishap of the action. This is all backed up with stunning cinematography and a killer soundtrack of 80s electronic and alternative hits. This is a true gem of the year.
Charlize Theron uses a choice ten-letter c-word on John Goodman and James McAvoy claims the heavily product-placed Jack Daniels is from "the Virgin Mary's tit." And this is just the first ten minutes of "Atomic Blonde," an exuberant exercise in gratuitous violence and mostly empty flash in a post-"Kill Bill" filmmaking landscape. Theron kills it, and the great thing is she's now solidified as an action movie star.
A great vehicle for Charlize Theron that utilizes her to the best of her dangerous and beautiful persona but in the end fails to add much novelty to its tired genre. Leitch applies the same template as his 'John Wick' history and at least gives us the novelty of setting it in a Berlin just at the time the wall was about to come down. Fierce fight choreography and a committed Theron are the main reasons to sample.