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Decent enough 1980s-era espionage action-thriller that pretty much combines Atomic Blonde, Red Sparrow and Besson's La Femme Nikita. Sasha Luss in the lead was quite good and the fight scenes were well choreographed. The story isn't special but twists were good and it did keep me entertained thanks to a nice supporting cast, especially Helen Mirren. **3.5/5**
If _Red Sparrow_ was the crap version of _Atomic Blonde_, when the Hell does that make the crap version of _Red Sparrow_? ...Fuckin' _Anna_ I guess. _Final rating:★½: - Boring/disappointing. Avoid where possible._
I'm a sucker for Luc Besson's films. Even when they're bad they're better than most of the action schlock churned out both by Hollywood and cash-grab direct-to-video indies. There is a lot I could rip to shreds from the implausibility of pretty much everything that happens to the less-than-stellar acting at times... but that's not why one watches a Luc Besson film. It's a wild and fun ride that doesn't let up and has some truly inspired action set pieces, some campy humor, and hyper-stylized imagery that makes this a joy to watch.
**In a genre filled with solid spy action thrillers with small budgets, Anna disappoints even with a solid cast and experienced director.** My hopes were high with the promise of a spy film with a John Wick-type female protagonist and a supporting cast with Luke Evans, Helen Mirren, and Cillian Murphy. But Anna doesn't even manage to entertain. The screen time is chewed up by developing her undercover identity, her various romances, hurts, betrayals, and very little subterfuge or action. Anna might have been released in theaters, but it was the quality of a direct-to-stream b-movie that had the dreams of a bigger budget film. I had expected more from Luc Beeson, the director of Leon, Nikita, and the Fifth Element. It's surprising with a director with successful films in the genre and an excellent supporting cast that, Anna ended up subpar and bland.
Luckily, Luc Besson has just enough notoriety left over to stimulate a bit of interest in his films. Had that not remained the case, then this derivative effort would probably never have seen the light of day. It tells the tale of the young model "Anna" (Sasha Luss) who is recruited by "Tchenkov" (Luke Evans) and his boss "Olga" (Dame Helen Mirren) to work for the KGB. She has the looks, the beauty - and the ninja skills, and is soon proving very effective and attracting the attention of the CIA in the form of "Miller" (Cillian Murphy). Quickly she, he, and her Soviet mentor are all caught up in a rather predictable game of cat and mouse. This has got really nothing to help it to stand out or to redeem the repetitive nature of the story. Fight, escape, fight, escape... It's all so routine, and frankly dull. Evans and Dame Helen deliver accents that are as thick as last months Tiramisu and though she does enter into the spirit off her character, Luss just doesn't cut through at all as the ambidextrous and glamorous assassin. It's almost two hours of your life, so I'd think carefully about whether to not you might need to be doing the ironing instead?
A successful mod photographer in London whose world is bounded by fashion, pop music, marijuana, and easy sex, feels his life is boring and despairing. But in the course of a single day he unknowingly captures a death on film.
In Los Angeles, a wealthy man, known as Mr. Fuller, discovers a shocking secret about the world he lives in. Fearing for his life, he leaves a desperate message for a friend of his in the most unexpected place.
A self-assured businessman murders his employer, the husband of his mistress, which unintentionally provokes an ill-fated chain of events.
Edward Wilson, the only witness to his father's suicide and member of the Skull and Bones Society while a student at Yale, is a morally upright young man who values honor and discretion, qualities that help him to be recruited for a career in the newly founded OSS. His dedication to his work does not come without a price though, leading him to sacrifice his ideals and eventually his family.
An ex-mercenary turned smuggler. A Mende fisherman. Amid the explosive civil war overtaking 1999 Sierra Leone, these men join for two desperate missions: recovering a rare pink diamond of immense value and rescuing the fisherman's son, conscripted as a child soldier into the brutal rebel forces ripping a swath of torture and bloodshed countrywide.
A corrupt CIA agent Sands hires hitman El Mariachi to assassinate a Mexican general hired by a drug kingpin attempting a coup d'état of the President of Mexico.
On the day of his retirement, a veteran CIA agent learns that his former protégé has been arrested in China, is sentenced to die the next morning in Beijing, and that the CIA is considering letting that happen to avoid an international scandal.
The movie's plot is based on the true story of a group of young computer hackers from Hannover, Germany. In the late 1980s the orphaned Karl Koch invests his heritage in a flat and a home computer. At first he dials up to bulletin boards to discuss conspiracy theories inspired by his favorite novel, R.A. Wilson's "Illuminatus", but soon he and his friend David start breaking into government and military computers. Pepe, one of Karl's rather criminal acquaintances senses that there is money in computer cracking - he travels to east Berlin and tries to contact the KGB.
The Middle Eastern oil industry is the backdrop of this tense drama, which weaves together numerous story lines. Bennett Holiday is an American lawyer in charge of facilitating a dubious merger of oil companies, while Bryan Woodman, a Switzerland-based energy analyst, experiences both personal tragedy and opportunity during a visit with Arabian royalty. Meanwhile, veteran CIA agent Bob Barnes uncovers an assassination plot with unsettling origins.
Uri, a 50 year old family man, has a romantic secret relationship with Oded, a young man from their small town in the south of Israel. During a trip in the desert, the two are forced to deal with the tragic consequences of their type of relationship.
