Ritchie's most tolerable film, but also as bland as it is inoffensive. Cavill benefits from portraying the suaver character -- stylin' suites -- but both lead performers struggle to light a spark. Hammer, who seemed so witty and adept in The Social Network, is adrift beneath an unconvincing accent and the briefest sketch of a character. The film really isn't that bad, but it's too uninspired to instill much passion.
Reminds me of the halcyon days when nobody appeared to wonder if there was anything at stake in different kinds of representation. This movie and its world are white. Very white. Neutralized white. Difference, distance, class, nationality, all in a state of progressive neutralization. Like a school play filled w/ characters from all over the world, played by kids in the same class, from the same town. But I liked it.
If the production team behind "Mad Men" helmed a Bond movie, the result might be something like Guy Ritchie's "U.N.C.L.E." This is not a particularly great film, per se, but it is well cast, and Ritchie neatly sidesteps both irony and camp by simply embracing the sheer aesthetic value of the period. This is a movie you watch for the gorgeous costumes, sets, and attractive people, or else don't bother.
Cemented in Guy Ritchie's strong visual style and a knack for slick directing, The Man from U.N.C.L.E. finds its '60s lighthearted and suave roots in more than capable hands, even if the plot doesn't always entice as much as the characters.
Guy Ritchie tries to emulate nineteen-sixties eye-popping aesthetics. His dedication in that department shows, but what compromises the rest is a bland and unoriginal Moonraker like plot. Nevertheless, it's funny and stylish enough to worth the price of admission. Henry Cavill is a bit too mannequin to inspire charm, while Armie Hammer and Alicia Vikander share some of the best moments.
Guy Ritchie when we thought had become a cursed director, who had lost the touch that made his first two memorable films. Comes this film that has all the English class and now reminds us more like James Bond with a touch of humor low London neighborhoods subtle. A good dose of fun with an excellent selection of songs, the whole atmosphere of the seventies. Worth seeing.
The filmmaker should be aware that energy is vital, but not everything in the genre, when deciding for procedures that just make the film falling into a disoriented spin of mind-numbing boat and car chases, gunshots, and last-minute rescues.