PEROXIDE PUNCH-UP

Joan Wick. Janet Bourne. Jane Bond. There’s a lot of terrible, misogynistic and weak jokes you can make about a female action hero. Thankfully, “Atomic Blonde” is the nuclear-powered powerpuff to blow all of the above out of the water.

Based on the graphic novel, ‘The Coldest Winter’, David Leitch’s 2017 action-thriller “Atomic Blonde” is a Cold War with an even cold-hearted killer at it’s helm. Set in the dying days of of East vs West German tensions, the film is a gritty, grey and gruesome dive into a period narrative of deceit and double crossing. And while the story may lack some punch, the action is a kick to the guts like no other.

Led by heroine-phenomenon Charlize Theron as Agent Lorraine Broughton, the film follows the MI6’s top talent as she wades through a swamp of espionage, lies and synth-pop in 1980’s Germany. Theron continues her run of recent action starrings, following on from her acclaimed roles in ‘Mad Max: Fury Road’ and [author’s note: this is acclaimed in my mind] ‘The Fate of the Furious’, and takes no prisoners in “Atomic Blonde” as one of cinema’s most bad-ass female figures. Her charm in the more down moments of the film hold together a muddled plot, and her capability is exemplified when she takes on the demanding and delirious action sequences of this work. Add to that a supporting case that sees McAvoy at his wise-cracking best as Berlin station-head James Pervical, as well as a various array of government posse from all sides in Sofia Bouteller, John Goodman, Roland Moller, Eddie Marsan and Til Schweiger. It makes for a jam-packed piece of work, that holds it’s own despite a few shortcomings.

As you can decipher, the narrative is at best an average take on the Cold War spy cliche. The hyper-stylised set-pieces and cinematography paint a pretty picture of the bleak German border and complement the overall essence of the film. However, a convoluted storyline and stop-start pacing make for a confusing piece of work, particularly to follow. Thankfully, some of the decade’s strongest action scenes more than make up for it’s failures. Leitch’s previous work on ‘John Wick’ and vast stuntman experience are wielded with masterful precision here, with brutal hand-to-hand combat delivering multiple outstanding sequences. To think this author never thought ‘99 Luftballons’ could be an excellent musical accompaniment to violent punch, kicks and knock-outs, has forced a re-think of everything he once thought impossible. Save for one particular scene, which proves as Leitch’s piece de resistance of the film. A several minute tracking shot that takes us through crowded streets, through rooms and up/down flights of stairs and all with nose-cracking, neck-breaking, gun-popping brilliance. It makes the price of admission very much worth it.

So while “Atomic Blonde” may not light it up when it comes to outstanding screenplay adaption, the film’s top-of-class fight sequences and a truly magnetic performance from its lead make for the perfect shake-up of the modern heroine. And stirred too.