Directed by:
Guy RitchieCinematography:
John MathiesonComposer:
Daniel PembertonCast:
Henry Cavill, Armie Hammer, Alicia Vikander, Elizabeth Debicki, Hugh Grant, Jared Harris, Luca Calvani, Sylvester Groth, Christian Berkel, David Beckham (more)VOD (4)
Plots(1)
Set against the backdrop of the early Sixties, at the height of the Cold War, The Man from U.N.C.L.E. centers on CIA agent Solo and KGB agent Kuryakin. Forced to put aside longstanding hostilities, the two team up on a joint mission to stop a mysterious international criminal organization, which is bent on destabilizing the fragile balance of power through the proliferation of nuclear weapons and technology. The duo's only lead is the daughter of a vanished German scientist, who is the key to infiltrating the criminal organization, and they must race against time to find him and prevent a worldwide catastrophe. (Warner Bros. US)
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Reviews (14)
Technically, of course, appropriately polished with an entertaining central duo, but otherwise this popcorn flick, like most Ritchie's films, has nothing extra. Surprisingly, the female cast is rubbish both in looks (!) and acting. The retro style may have worked brilliantly in X Men First Class, but here it doesn’t fall on fertile ground with the same elegance and wit.
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So in this year of spies (Mission: Impossible - Rogue Nation, Kingsman, Spy and I have no doubt about the quality of Spectre), The Man from U.N.C.L.E. is unfortunately the weakest link. The film has a solid retro look, with beautiful fashion (hats, big glasses, admirable dresses and suits), gallantry and elegance at every turn, not to mention the cars. Henry Cavill and Armie Hammer are OK, but not dazzling, but Alicia Vikander has a decent shot at being the new Hollywood power star, last year that name meant nothing to me, and this year she has dazzled in Ex Machina, Seventh Son and The Man from U.N.C.L.E., a positive calling card for this up-and-coming lady who strongly resembles Audrey Hepburn. What’s disappoints, however, is the action, which is underwhelming and not very satisfying. There is little action and it mostly consists only of car chases (there is one fight and two shootouts) – at least the finale is beautifully set in the mountains with a cross country and an off-road Jeep. However, it lacks a moment that made me want to watch the film again, which is a bummer when I've seen other spy films at least twice. Entertaining yes, but not riveting or spectacular. 75%
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A stylish retro spy spectacle that thankfully doesn't parody the genre. But it takes it in stride and it's good at it. The central trio is very likable (Armie Hammer fits the role of the Soviet fighter perfectly and the cute Alicia Vikander is not just cute and certainly not just some cheap ornament) and her constant jibing is pleasant... And Hugh Grant proves once again that aging doesn't rob a person of a shred of charm, id you don’t let it. Guy Ritchie's direction has swing and lots of ideas, offers a number of rewarding scenes full of humor (including the black one, see the chair) and suspense, and I must especially highlight the amazing soundtrack. The instrumental one by Daniel Pemberton, which therefore pays tribute to John Barry rather than Ennio Morriccone, and the well chosen songs. I'm very satisfied.
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The cool soundtrack saves an otherwise average spy story set in the days of The Berlin Wall. Pemberton is Morricone’s reincarnation. Ritchie has an incredible feel for music, but the catchy sixties hits were completely overshadowed by excellent instrumental music oscillating between western, spy genre and some weird ethno mix. The acting duo (Cavill, Hammer), trio (Alicia), quartet (Grant) is welcome, I wouldn’t turn down another adventure with them, with a bit more complex story of course. Some isolated scenes are actually genius (the snack in the car), but in general I expected just a little bit more. A fine chill. Noting more, nothing less. Damn. I left my jacket in the other room.
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(over) An over-the-top stylized, undemanding spy retro one-time movie, which is not purely comedic, but it make you smile throughout the footage. Unsurprisingly, it is entirely dependent (even thanks to the unnecessary bad guys) on the squabble of the central trio, which usually works. Most of the time. And if not, "sixties" Ritchie, "Morricone-like" Pemberton or Uncle Rudi with his fairy tale carry it.
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