Directed by:
Steven SoderberghScreenplay:
Lem DobbsCinematography:
Steven SoderberghComposer:
David HolmesCast:
Gina Carano, Michael Douglas, Michael Fassbender, Ewan McGregor, Channing Tatum, Bill Paxton, Antonio Banderas, Michael Angarano, Mathieu Kassovitz (more)Plots(1)
Mallory Kane (Gina Carano) is a highly trained operative working for a government security contractor in the dirtiest, most dangerous corners of the world. After successfully freeing a Chinese journalist held hostage in Barcelona, she discovers the man has been murdered - and all the evidence points to her as the main suspect. Suddenly the target of skilled assassins who know her every trick, Mallory realizes someone deep inside has betrayed her. But who? And why? Far from home and on the run, Mallory executes a series of daring maneuvers to throw the local SWAT team off her trail, only to find herself pursued by far deadlier forces. Crossing multiple international borders, she eludes a powerful web of law enforcement and private operatives until she finds herself left with few options. Increasingly desperate to clear her name and reveal the real traitor, Mallory uses her black-ops military training to devise an ingenious - and dangerous - trap. But when things go haywire, Mallory realizes she’ll be killed in the blink of an eye unless she finds a way to turn the tables on her ruthless adversary. (official distributor synopsis)
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Reviews (10)
Everything but cliché. An excellent film that you need to learn to like. Gina Carano is an incredible fighter and the action scenes are amazing, in my opinion better than in the Bourne trilogy; they are dense, believable, physical. You can feel MMA with every second. Packed with stars, but only on the surface. Soderbergh plays incredibly well with the given genre and essentially shows everyone the middle finger. Many people won't appreciate this film, but a few will really like it.
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Soderbergh goes against expectations once more - although that was actually expected - and offers a simple fable in which the plot comes last. The schematics of the director's rendition of the secret agents and even more secret leaders evoke in me a mockery of the rules of the genre rather than its adoration. I'm no film scholar, so I don't have to do any digging into it. I was entertained by the clear action scenes, dominated by Gina Carano's physical abilities, and Soderbergh's unorthodox approach. So when Holmes' bizarre music plays during the hostage liberation scene, which evokes cheap spy themes, I sank into my seat and rode on a fully positive wave until the end. PS: I'd damn well change places with Fassbender in the leg choke scene.
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Neither fish nor fowl. Soderbergh built the film on the participation of martial arts champion Gina Carano, and she is great in the action scenes as expected. When character acting is necessary, however, she clearly lags behind. Not that she is horrible, but she does not master the more complex nuances of acting and cannot present her character convincingly. She lacks the charisma that a star in the lead role needs. Soderbergh may have hired a whole range of famous names, but they are just tagalongs. I'm afraid there won't be that many people that Soderbergh will enchant with this because this is neither art nor a B-action movie. One would expect Soderbergh, as a symbol of independent film, to sneak a whole range of other meanings into the film, but it somehow lacks that. Haywire is worth a single watch, but I wouldn't bother a second time. Overall impression: 55%.
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Of all the action movies in which the female lead character kicks the ass of all the men present that I've had the pleasure to see so far in my life, the thriller Haywire enthralled me the least, therefore, barely at all. I watched it more or less for the decent-sounding cast, but I didn't give a damn about the plot from just a few minutes in. (40%)
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Deadly Is the Female. Soderbergh approached the cohabitation of a man and woman in an absolutely logical way – as an action thriller. The film’s leitmotif is the necessity of overcoming the collapse of one’s first serious relationship. Meanwhile, the female protagonist tries marriage, seen by both participants from the beginning as a game full of pretence and rather abruptly ended after the wedding night, which has the nature of a life-and-death struggle. The only man she can depend on is her father, whose brains she wants to blow out and from whom Mallory herself keeps no secrets. So, she finds certainty only in returning home, not in a fake relationship with one of her “tried and tested” partners, whom she doesn’t even know properly. ___ Unlike in “patriarchal” spy thrillers (e.g. Bond movies), the woman here is not a negative character, but actually the only positive one. She doesn’t gain men’s respect with her charm and intellect, but with her physical dominance. Though she uses her body as she would to erotically entice a man (to act as a mere decoy is beneath her level), she does so in a more energetic way. Thanks to the raw content of the elegantly filmed fight scenes (unlike Bourne-style shaky-cam filming), the feeling of physical contact is far more intense than in action movies depending exclusively on sharp editing. ___ Watching the protagonist’s body in motion is doubly pleasurable for male viewers, as her repeated displays of control over the situation (rather than the camera’s control over her body) mitigates the feeling of voyeuristic guilt. Here, a beautiful woman does not appear as an object of leering gazes, but as a goal- and action-oriented person who takes greater initiative even in the matter of sex. ___ During the first two-thirds of the film, Mallory’s dominance over the image is further multiplied by the fact that this involves the retelling of previous events through her flashbacks. We are provocatively and repeatedly made aware that she is steering her narrative to a particular character who is basically unimportant for the story. Our “eye”, represented by the camera in the diegesis, is not even allowed into the car in which the protagonist summarises her history. (This lends itself also to the interpretation that the terrified young man represents the typical action-movie viewer, whom Soderbergh is somewhat making fun of – that’s why, for example, Mallory constantly repeats important names, just as crucial information is repeated in Hollywood action flicks.) ___ The revealing of moments when Haywire uses the stripped-down action plot for the purpose of supra-genre commentary does not comprise the film’s essence, but its value added. At its core, it is a brisk, though dramaturgically loose female variation on Bourne movies, or rather (given the B-movie subject matter) Commando, in which an emerging action star crushes his (for the moment) more famous acting colleagues between his thighs on various continents and nothing can stop us from savouring the action in and of itself. Chuck Norris may know how to divide by zero and Bond’s double-o gives him a license to kill, but Gina Carano would nullify both of them before they could utter the word “shit”. 80%
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