Atomic Blonde

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

'Atomic Blonde' is one of those movies that I can watch over and over again and it just doesn't lose its impact. When I saw the movie for the first time I had no expectations and I was more than convinced. Since then it is one of my favorite movies and that although it is certainly not a masterpiece.

In the intro, you already get a foretaste of the direction the movie is going to take, which is then consistently followed through. The movie doesn't lose its pace over the entire runtime. There is no real hole.

The entire atmosphere feels incredibly authentic. The whole thing is underpinned by a really stylish, cool and coherent soundtrack, which strongly underpins the images shown.

The only point of criticism is the plot. It seems a bit confused and essentially serves to explain why a character gets from A to B. The story isn't really complicated, but you still think to yourself at some points, just accept it and don't question it.

But you can turn a blind eye to that, because the actual plot is in the background for me here. The overall look and feel paired with the really strong fight choreography let you quickly overlook it.

And that brings us to the crucial point. The movie has incredibly strong fight scenes. The camera is close up throughout and all the fights look handmade. That's what I want to see and not cut-up action where you can't see anything or which is just bristling with GCI. Some action movies can take a leaf out of this book. Showing and not hinting is the motto here. One of the best scenes of the whole movie is a several minutes long plan sequence in a house. I find this impressive every time. In these moments, the movie reminds me of a reduced, well dosed John Wick, only the setting and the framework story appeals more to me personally.

All in all, 'Atomic Blonde' is a solid agent thriller, which can more than convince with its atmosphere, look and fight scenes. In terms of plot, familiar structures, motifs and sequences are used. If you can overlook that, then you can really have fun with the movie.

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.

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.

It's 1989 in the days before the fall of the Berlin wall. British agent Lorraine Broughton (Charlize Theron) is sent in to retrieve a list of agents. David Percival (James McAvoy) is her contact. Delphine Lasalle (Sofia Boutella) becomes her lover. After the mission, she is debriefed by CIA Emmett Kurzfeld (John Goodman) and MI6 Eric Gray (Toby Jones).

There is the music, the action, and the lesbian sex. I love the hose fight. There is such great intensity. The car chase is also right up there. This movie has great sequences. The story itself is a muddle of unknowable characters and simplistic plot devices. The biggest sin is the flashforward debriefing scene. It takes away the danger and it also grinds down the pacing. It should have been done straight up timeline. This could have been a fun spy romp but the storytelling is so jumbo that I stopped caring about the plot or the characters.