See Tim’s review of “Atomic Blonde” with Adrienne Broaddus on KARE 11.
Atomic Blonde (R)
Charlize Theron mixes a bit of James Bond espionage and a lot of extreme “John Wick”-type action in “Atomic Blonde,” an energizing spy thriller that despite its thrills, still falls short of the wickedness of “Wick” and the intrigue of Daniel Craig’s 007 outings.
“Atomic Blonde” certainly the potential of, at the very least, being another “Wick.” David Leitch, who co-directed the first Keanu Reeves revenge thriller is at the helm of “Atomic Blonde,” and Theron has already well-proven that she has an incredible handle on the action genre with her kick-ass turn as Imperator Furiosa in “Mad Max: Fury Road” and recent turn as the villain in “The Fate of the Furious.”
Set in 1989 in the waning days of the Cold War and the fall of the Berlin Wall, “Atomic Blonde” stars Theron as MI:6 spy Lorraine Broughton, a no-nonsense field operative whose myriad of skills includes a lethal form of hand-to-hand combat. When one of her fellow MI:6 agents turns up dead in Berlin, Lorraine is dispatched to the city to not only recover his body, but join the city’s top operative (James McAvoy) to ferret out a double agent betraying the agency and most importantly, recover a list that names several undercover agents and vital personal details about them.
The biggest problem with “Atomic Blonde” is in its pacing, since the film is rooted in a debriefing of Lorraine by her MI:6 superior (Toby Jones) and an American CIA authority (John Goodman), and told almost entirely in flashback scenes.
Hear Tim’s review of “Atomic Blonde” with Tom Barnard on “The KQ Morning Show” on KQRS-FM.
Yes, while Theron’s charisma commands your attention every second she’s on film, “Atomic Blonde” suffers as Leitch builds intensity in scenes with pulse-pounding action (usually though encounters of hand-to-hand combat or car chases), only to suck the energy out of the air by continually reverting to the debriefing.
The “Wick” chapters, on the other hand, had linear narratives that escalated in intensity throughout the film, creating burning anticipation for whatever the end game was going to be. The hopping back and forth in “Atomic Blonde” only lends to confusion.
Lammometer: 7 (out of 10)
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