…and the quest to see everything

Haywire

Channing Tatum brings the first great quotable of 2012. As privately contracted secret agent Aaron in Haywire, he says “I’m hungover…and you’re really starting to cut on my vacation time so can we go,” being straightforward about the state of mind that he says he’s in.

In short he’s there to propose that his former colleague Mallory Tate (Gina Carano) to surrender herself. That’s a contrast from the flashbacks – she narrates the events to some bloke name Scott (Michael Angarano) – they seemed to get along like a perfect couple. He looks good for someone who might talk with his mouth full, she sounds like a robot trying to hug me after my father died.

They’re assigned on a rescue mission in Barcelona and cross professional boundaries when they finish the job. Days and oceans later, they kick each other’s butts, letting us know that this isn’t a love story. It’s one of professional betrayal, as each man in the field tries to kill her while she uses her training for self-defence.

Steven Soderbergh here employs the same drained digital color schemes as he did in Contagion. I forgive directors who ‘improve’ on themselves but he’s more ubiquitous, inadvertently letting his audience see him as derivative of himself. Two years might make us look at four movies conflated into a phase instead of each one being able to stand up on their own.

The choreography of the fight scenes are also noticeable. Punch, unfurl, weapon, punch, kick, wall, unfurl, repeat, choke hold, death (I actually don’t mind how he films fight scenes, as wide shots and no sound make limbs do all the good work).

Despite of Soderbergh holding on to a list of obsessions, a few end up working. If Contagion felt like the angel of death with a coach ticket, Haywire finds the B-spy action (sub)genre perfect for cinematic globe-trotting. A chase scene in Barcelona is exhilarating partly because we’re going through strange city streets.

The action also brings out the sadist within all of us, the audience with whom I watched the film laughing when Carano injures her sparring partner. Soderbergh as usual finds humour within confrontations between professionals.

Haywire also plays around with the feminine action hero. Unlike others, it lets Carano – a MMA fighter in her movie debut – be a lover, eye candy or the cool-headed avenger. She softens up during  dialogue or when she’s with her father (Bill Paxton) but becomes intimidating when she needs to.

The other male actors including Michael Fassbender, Ewan McGregor – I love his bunny-like grin as he asks Paul (Fassbender) if ‘the divorce is final’ – and Antonio Banderas, who plays a philanderer, eventually cower under her fists. Just the way we like her. 3.5/5

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2 responses

  1. Nice review. This spy flick actually features some great fight scenes and stunt. It is edited right down to the bone and the production is about as slick as anything in recent years. Emotionally, however, it is on the cold side, mainly because of Carano’s stiff-delivery.

    February 5, 2012 at 11:29 am

    • I never thought about the editing and the production value/decisions in Haywire. It’s inches above MI:4GP in a way that we’re going to Barcelona and Dublin without making those places overtly Spanish or Irish. I don’t solely blame Carano for the coldness as Soderbergh has an equal hand in that with his cinematography. I’m ambivalent if the movie would have been better or worse if she was a better actress or not.

      And thanks for stopping by! 🙂

      February 7, 2012 at 4:19 am

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