"The Man From U.N.C.L.E." Review

Since starting this blog almost two years ago, I've noticed a change in how I leave the theater after a movie. As a kid, I was George of the Jungle, swinging on imaginary vines into walls. As a preteen, I daydreamed of spinning webs and sucker-punching Doctor Octopus. However, as this current project of reviewing movies progressed, I found that my switch to that imagination, that willingness to wholly immerse myself into the story and characters, was being triggered less and less. 

When I leave a movie now, my thoughts go to cinematography, the effect of a certain monologue, how easily I could distinguish CGI from reality. And while I appreciate the ability to approach film with a more discerning eye, I can't help but long for the days where I'd spend the car ride home sending my brain on a cinematic odyssey. To quote Alan Moore's Watchmen, "I believe that in approaching our subject with the sensibilities of statisticians and dissectionists, we distance ourselves increasingly from the marvelous and spell-binding planet of imagination whose gravity drew us to our studies in the first place."

I bring this up, reader, because recently, the switch turned on. Monday night, I revved up my car and shot into the night, fueled by chases, gunfights, and espionage. I had just finished watching The Man From U.N.C.L.E. and at that moment, I was sure then, as I'm even more so now, that this was something special.

The film, set during the Cold War, follows CIA agent Napoleon Solo (Henry Cavill) and KGB operative Illya Kuryakin (Armie Hammer), rivals-turned-partners as they're enlisted by their governments to stop a remnant Nazi organization from launching nuclear warheads. Enlisting the help of Gaby Teller (Alicia Vikander), the daughter of one of the Nazis' captive scientists, the spies attempt a two prong plan: Illya and Gaby search for her father, while Napoleon infiltrates the organization, trying to earn the trust of their leader, the icy Victoria Vinciguerra (a villainous name if ever I've heard one), played by Elizabeth Debicki.

Director/writer Guy Ritchie is known for energy, for high-octane pictures that rarely take a break. Films such as Snatch and Sherlock Holmes suffered from an imbalance, of either too many characters, shallow plots, or excessive action. Here, Ritchie hits a pitch-perfect stride, keeping the film moving, with enough explosions, boat chases, fighting, and gadgetry to entertain, while putting in slower scenes, mainly between Illya and Gaby, to flesh out the characters and give the audience time to breathe.

What works best here is the execution. I feel like I'm a broken record with this, but especially in this year, which could be nicknamed the "Year of the Spy" due to the release of Kingsmen: The Secret Service, Spy, Mission: Impossible - Rogue Nation, Bridge of Spies, American Ultra, and Spectre, what makes a film stand out is how well the conventions of the genre are utilized or updated. The Man From U.N.C.L.E. cherry-picks the best from spy genre: the slick, 60's-inspired art direction from Dr. No and Thunderball, the over-the-top stunts from Mission: Impossible, and grit from the Bourne franchise and newer James Bond films like Casino Royale or Skyfall. The influences are apparent, but never does the film feel derivative; it's having a blast telling its story.

Cavill and Hammer give star-making performances here, making up for the faults of Man of Steel and The Lone Ranger. Cavill borrows from Sean Connery's Bond; his Solo exudes confidence (even if it's not internalized at the time) and the suavest of charm, holding a more delicate approach to problems. On the other end of the spectrum is Hammer's Kuryakin, temperamental . Hammer's size and presence is intimidating, but he offers some great physical comedy; his reactions make me crack up, especially when paired with Gaby. Speaking of Gaby, Alicia Vikander continues her reign of 2015; after a masterful supporting role in Ex-Machina, she shows off her spunk and comedic chops, the perfect foil to Kuryakin's brittle machismo.  

Ritchie comes unhinged with the camera, offering a variety of well-crafted shots, angles, and setups that make for both suspense and hilarity. From the car chase in Berlin to a speedboat scene at the villains' factory, the film offers fun, inventive action that had me in a grin from beginning to end.

The Man From U.N.C.L.E. doesn't have the most original story, and the climate of spy films stacks the odds against it, but the fact of the matter is that this is the most fun I've had watching a film all year. The acting is top-notch, the action thrilling, the comedy side-splitting. This made me feel like a little kid again, falling in love with movies and the worlds they create. If you're in the mood for seriously great action, this is it. "James Bond, eat your heart out."

Thank you all for reading; I'm the Man Without a Plan, signing off.