Critics reviews

The Rhythm Section induces a dreary, exhausting claustrophobia varied only by flashes of virtuosity.

The talented Morano, whose work on the TV series “The Handmaid’s Tale” shows a knack for shuddery grim realism, sometimes seems to want to subvert the espionage-action genre by bludgeoning the pleasure out of it. One fight scene pitting Lively against the wiry, insistent Richard Brake is so severely brutal it feels like Soderbergh’s “Haywire” remade by Lars von Trier. Audiences may be more shaken than stirred.

Though there are staples of that series to be found throughout The Rhythm Section—including exotic locales, duplicitous wheeler-dealers, and a little bit of BDSM imagery—it ultimately offers none of the fun and only a few of the basic thrills of Bond.

Morano puts together good fight scenes, robust stunt work and tasty car chases. It’s destined to be viewed on a million long-haul flights, but it works perfectly well as a thriller.