Atomic Blonde Review

R: Sequences of Strong Violence, Language Throughout, and Some Sexuality/Nudity

Universal Pictures

1 Hr and 55 Minutes

Cast: Charlize Theron, James McAvoy, John Goodman, Sofia Boutella, Toby Jones

INTRO: Charlize Theron is in another lead role kicking ass and taking names, but is it worth seeing though?

The crown jewel of Her Majesty's Secret Intelligence Service, Agent Lorraine Broughton (Theron) is equal parts spycraft, sensuality, and savagery, willing to deploy any of her skills to stay alive on her impossible mission. Sent alone to Berlin to deliver a priceless dossier out of the destabilized city, she partners with embedded station chief David Percival (James McAvoy) to navigate her way through the deadliest game of spies. 

THE GOOD: Can we have Charlize Theron be the poster child for badass women everywhere? Next women’s march I will gladly walk out with a poster with a collage of Charlize Theron as various characters like Furiousa, Æon Flux, Queen Ravenna, and now Lorraine Broughton. If Daria were a spy, this character would be her. Theron does a great job like always kicking all kinds of ass like she naturally does but what makes her fun to watch is the delivery of her lines, where she doesn't express much emotion and but is quick to give snide remarks.

You know how two people directed John Wick and one of them was Leitch (who was uncredited), and the other was Chad Stahelski? I  now know which part of John Wick Leitch directed. Without a doubt, I know Leitch helmed the neon club action sequence because he transfers that color palette of neon straight into Atomic Blonde. Director David Leitch takes this Oni comic book and adapts it to something rightfully dark. Atomic Blonde immediately finds its tone from the beginning and sticks with it all the way through. It's dark and gritty but knows when to lighten itself up at times which helps the entertainment value. The film moves like a graphic novel with cool transitions that makes you feel like you’re traveling from one panel to the next. Leitch infuses enough stylistic flair to elevate the film’s entertainment value with bright neon colors throughout. There are so many establishing shots with a beautifully colorful aesthetic that you just want to compile into a photo set in a Tumblr post. If this is the style we are to expect in Deadpool 2, then I am all for it.

Another fun performance in the film that should be mentioned is James McAvoy who infuses nothing but charisma. Remember McAvoy's performance in Filth? Well, think of that character but as a spy. He’s an irresponsible loose cannon of a spy but does well at his job. Holy Shit he’s Archer. Forget everything I said about Filth; he’s Archer. He doesn't take his work seriously but he kicks ass, and his comedic timing is impeccable. Those traits right there correctly describe Archer, and that pretty much sums up McAvoy’s character. He is a wild card whose actions you don't see coming at times. You do pick up what he's all about as the film goes on.

The film does defy the norms of the spy thriller. You see guys picking up the girl in spy thrillers, but here you have the girl picking up the girl which is a refreshing twist. Granted the love sequence is tame and short similar to a Bond love scene, but the addition of Sofia Boutella plays a good part of Lorraine's character and fleshing her out.

THE BAD: The narrative of this film plays like an episode of Scooby Doo set in Berlin 1989. The screenplay provided by Kurt Johnstad features cool lines of dialogue especially when it involves Theron delivering one-liners, but the story itself is very generic. It starts as one thing but leaves off on a confusing note that leaves a bad taste in your mouth.

I’m loving this trend of playing nostalgic music from the late 20th century in action movies, but we can tell when it is being forced into a movie. This is one of those films that forces its 20th-century soundtrack. A lot of song choices destroys the intensity of some of the most brutal of sequences. The music choices for a majority of the action sequences are so jarringly terrible that it takes you out of the entire movie. For example, there a scene where one of the antagonists torture a group of boys to find a spy planted amongst them. It is a graphic and uncomfortable scene, but it's knocked down by the inclusion of "99 Luffaloons" playing in the background.

Another example includes an action sequence that plays like Theron’s Wonder Woman audition with her whipping and lassoing people with a rope and it's awesome. Unfortunately that remarkable sequence is undercut by the poor musical choice inclusion of George Michael’s "Father Figure" blasting in the background. The song is great and all (George Michael RIP) but it doesn't mesh well with the brutal violence that's occurring onscreen. Even when you think it's done, the scene ends with Charlize Theron giving a badass pose, and as we bask in her close up you hear

"TILL THE END OF TIME."

And all you can do is — 

Even when nothing is going on, some 80s song will just play out of nowhere for 30 seconds or less only so it can distract you. You can have your score composer make the music instead of forcing a soundtrack man. When James Gunn and Edgar Wright incorporate 20th-century music into their films, they use it as an intent to progress the story or motivate their characters. Here, it's included just because the setting takes place in the late 80s and is used as an excuse to market an 80s soundtrack.

It is not just once but throughout the entire film. It's as if whiling editing the editing room, the editor spliced every song that was on his Spotify 80s playlist that was put on shuffle and integrated it into the movie.

The action sequences are cool, but when it gets to the stairway sequence (which is pretty much the highlight of the film), it is incredible in numerous ways.

- First off, everything is brilliantly choreographed which is expected due to Leitch's background as a stunt performer and a second unit director.

- Secondly, filmmaking that goes behind it is outstanding where it is all constructed in one shot. 

- Thirdly, the sequence opposed to every action film including John Wick shows characters experiencing fatigue. Lorraine is taking on the guys in hand to hand combat, gunfire, and other styles of fighting. 

- Fourthly, NO MUSIC IS PLAYED OVER IT! No 80s song, no score, nothing but yells, grunts, and groans. The sound behind the punches feels real. With each punch, you hear a crunch which results in a distraught groan. In other movies, people silently drop like flies when shot. When people are hit, they make a yell of pain, and it helps make the sequence naturally thrilling. This sequence alone is worth the price of admission, but then after its done, you can just walk out and not stay for the rest of the film.

LAST STATEMENT: Though the choreography of the action sequences are electrifying and the butt kicking performance by Theron is entertaining, Atomic Blonde mainly suffers from a generic/lackluster narrative and a distracting soundtrack.

Rating: 2.5/5 | 54%

Super Scene: Stairway Spy Fight