Poliatova may look like your average supermodel with the rags to riches story that often goes along with it, but there’s a lot more to her than meets the eye. Beneath her beautiful façade lies a trained killer with the sort of keen intelligence and cold ruthlessness that only the best spies have.
initially feels more like Luc Besson jumping on an already pretty crowded train than his going for something as idiosyncratic and often just plain bonkers as his most notable and well-known films. Certainly, after the audacious but messy Valerian, this looks like Besson at his most conservative. Where that is, is undoubtedly massively silly but it’s a lot less rote and conventional than it first appears, and it may just be that the real reason for the heavy embargo against early screenings of the film is that Besson wants to have audiences anything but sure-footed for most of the film. Not so much in terms of the twists, of which there are dozens, but of the fact that this violent and seemingly po-faced spy film may be much more irreverent than it first appears.
It’s not all just mercurial weirdness, though. There’s a lot to like here even if you take the film as full-on but quite run-of-the-mill spy flick. It has plenty of nicely choreographed, shot and edited action scenes that may be the least you might expect from Besson but are something of a rarity in today’s overly-hyper action-movie landscape. It’s probably overly long, but it moves along at a brisk pace and has some very nice cinematography of various locales for when your mind wonders.
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