A lot of how you respond to Guy Richie’s stylish take on “The Man from U.N.C.L.E.” has to do with what you go in expecting. If you’re anticipating the gadgetry of retro Bond, the action adventure of the “Bourne” franchise, the stunts of “Mission: Impossible” and the bromance of Richie’s “Sherlock Holmes” movies, you will not find much of that here. Nor, if you do a little research, will you find much similarity to the 60s TV show from which the movie takes its name. In comparison to the film adaption of “The Lone Ranger” (which coincidentally also starred Armie Hammer), “U.N.C.L.E.” is not even a smidge as inflammatory or insulting to its source material. Contradictory to the catastrophe that was “Lone Ranger”, “U.N.C.L.E.” presents its send-up with a far more celebratory spirit and its infectious energy keeps the movie afloat, even as it hits the choppy waters of some overused gags that grow tired fast.
Set in 1963, the story revolves around rival spies; American
CIA agent Napoleon Solo (Henry Cavill) and Russian KGB operative Illya
Kuryakin (Armie Hammer) as they reluctantly join forces to stop a shadow
organization
from procuring a nuclear weapon. Crucial to their plan and along for the
ride
is East Berlin mechanic Gaby Teller (Alicia Vikander); whose scientist
father
is being used by the group to create the WMD.
Let the double crosses, questionable allegiances and
adversarial repartee begin. On paper, two dueling agents from opposing
countries
with vastly different approaches to field work should make for a
crackling combination. While the two spar, their buddy relationship
remains stagnant. They only
manage to tolerate each other; never developing the common respect or
admiration
for each other that other films such as “Shanghai Noon” have
terrifically
brought to bear. More successfully realized is Alicia Vikander’s Gabby,
who is
seamlessly woven into the fabric of the central duo’s dynamic and the
movie's boys' club atmosphere in a believable way that avoids feeling
obligatory. Utilized to
much lesser effect is Hugh Grant’s Waverly, a role that ultimately
amounts to
an estimated five minutes of screen time for the veteran thesp; a
greatly disappointing
choice.
While
subtle in how it goes about it, "U.N.C.L.E." seems to take sides in the
old Cold War rivalry. Clues to where its loyalties lie rests with some
key plot points. Solo goes from being
an upstanding voluntary agent in the TV series to having a movie
backstory as a criminal rogue,
who was forced into using his powers for US interests. Kuryakin on the
other
hand is a noble guy working to redeem his family’s name following his
parents’
scandalous downfall. His worst attribute is a short temper that doesn’t
suffer
fools or villains; which isn’t really a bad trait. If “U.N.C.L.E.” is
trying
to repair the bad blood stirred by “Child 44” it makes a sufficient dent
in cleansing the
murky waters.
Highly impressive is the performance of rising star Alicia
Vikander who demonstrates her versatility in a significant departure from her role in
“Ex Machina”. Feisty, quirky and with the appropriate air of mystique, Vikander
makes an impression as the precocious Gaby. The only minor drawback to her turn is an
inconsistent accent that oscillates between German, Swedish and American before
falling into a mash-up of the three. Her turn as a whole more than makes up for
this small fumble though.
More than paying homage to its namesake, “U.N.C.L.E” is a
good-natured tip of the hat to 60s spy movies and the mystery classics of the 50s,
with strands of “To Catch a Thief” and “Charade” coming through the most. The
direction, cinematography, costuming, music and the cast’s performances never
stray far from the vein of its time period. There’s nothing that screams
millennium here and that is both a bold choice that pays off with its throwback
zing and a slight hindrance to its feeling daring. There’s a constant feeling
that we’ve seen all of this before and executed to better effect.
Advertised as a jam-packed action adventure featuring gentleman spies, the resulting movie is not as clearly decisive on its genre endgame. It tries its hand at humor too much to be considered dramatic and flirts too mightily with camp to be taken seriously. As the creative force behind this effort, Guy Richie delivers a substantially more pulsating and lively adaptation than a lot of other helmers could have. It is sleek and sophisticated, properly posh in all the right places. When it comes to ranking it against the slew of other TV-to-movie adaptations; "U.N.C.L.E." doesn’t land as smoothly as the first “Charlie’s Angels” film, a benchmark for the genre. When it comes to marrying the past with the present, having fun with its namesake and dabbling with the progressive, it still has no equal. Rating: 6.5/10
Advertised as a jam-packed action adventure featuring gentleman spies, the resulting movie is not as clearly decisive on its genre endgame. It tries its hand at humor too much to be considered dramatic and flirts too mightily with camp to be taken seriously. As the creative force behind this effort, Guy Richie delivers a substantially more pulsating and lively adaptation than a lot of other helmers could have. It is sleek and sophisticated, properly posh in all the right places. When it comes to ranking it against the slew of other TV-to-movie adaptations; "U.N.C.L.E." doesn’t land as smoothly as the first “Charlie’s Angels” film, a benchmark for the genre. When it comes to marrying the past with the present, having fun with its namesake and dabbling with the progressive, it still has no equal. Rating: 6.5/10