Atomic Blonde Review: Fast and Dangerous

Atomic Blonde is a spy thriller directed by David Leitch. The film stars Charlize Theron, James McAvoy, Sofia Boutella, John Goodman and others.

It is both cool, hot and icy. And above all, it is dangerous. She is Lorraine Broughton, a very special agent of the British Secret Service. It had been known since Mad Max: Fury Road that there is an indomitable/untamed tiger in the South African longline.

With Atomic Blonde, Charlize Theron becomes the second Wonder Woman to take the screens for assault this summer. And she finds her place among Gal Gadot, Scarlett Johansson and Angelina Jolie (in the days of Lara Croft, Salt and Wanted). But here, the character with whom Lorraine Broughton has most in common is a certain John Wick.

First, this spy thriller is directed by David Leitch (who is currently working on Deadpool 2). He is the stunt coordinator who worked with Keanu Reeves on The Matrix Revolutions and co-directed John Wick. Like Atomic Blonde, it is a pretext for a series of hallucinating combats that is complex, varied and amazing by their choreographies.

Hats off to the French photo director Jonathan Sela, who knew how to capture the slightest subtleties, and make them always readable on the screen. In this context, history does not matter much. We are not going to see this kind of films for their intrigue. Except that this time, we wanted to do see. Someone wanted to play John Le Carré/Robert Ludlum ignoring the fact that everyone is not John Le Carré/Robert Ludlum. The transplant did not take off.

Based on The Coldest City, a graphic novel by Antony Johnston, Atomic Blonde multiplies alliances and betrayals, shirts that fall and return, and the twists and turns. And cliches. We are in 1989, in Berlin, on both sides of the wall that will be demolished. Lorraine Broughton's mission is to retrieve a document containing very important information before it falls into the wrong hands, and take a defector of the Stasi under her wing.

This, with the help of the former head of the MI6 office in Berlin (James McAvoy, who displays the same borderline intensity as in Split, but channels it well to the end) and a French spy embodied by the Brunette Sofia Boutella. Black hair, blond hair. Matte complexion, diaphanous complexion. The picture is beautiful. It will be (well) exploited.

On all this beautiful world hangs the specter of Satchel, a mysterious double agent. Of course, one will discover the identity in the end. From here to say that it is a surprise. But, well, once again, this is not the primary goal of Atomic Blonde. It would have benefited easily with a small half hour of cuts. It is the full view that is in the honor.

It explodes everywhere, in the diversity of sets, in Charlize Theron's outfits and in the fights especially the one of which is held in a cinema, against the backdrop of Tarkovsky's Stalker. One who hits an apartment with a garden hose as an offensive/defensive weapon. And the long shot that takes place in a building, moving from one room to another, from a corridor to a staircase. Panting.

At the end of Atomic Blonde, nothing or almost anyone can stand. Neither the walls nor the "Wall".