Charlize Theron returns to the silver screen to kick some more ass, this time as an intelligence agent known as ‘Atomic Blonde’. In 1989, on the eve of the collapse of the Berlin Wall and the shifting of superpower alliances, the dangerous Lorraine Broughton (Theron), a top-level spy for MI6, is dispatched to Berlin to take down a ruthless espionage ring that has just killed an undercover agent for reasons unknown. Lorraine is ordered to cooperate with Berlin station chief David Percival (James McAvoy), and the two form an uneasy alliance, unleashing their full arsenal of skills in pursuing a threat that jeopardizes the West’s entire intelligence operation. But someone close is revealed to have set Lorraine up, so now she must take down the entourage while finding her mysterious betrayer. ‘Atomic Blonde’ is directed by David Leitch, and is rated R for sequences of strong violence, language throughout, and some sexuality/nudity.

Being that ‘Atomic Blonde’ is set during the late 80’s, at the dawn of a new era in Russia, there’s much to be said about this distinct setting that clutches itself around the look and feel of Leitch’s picture. The movie features a very weathered kind of look behind the lens of cinematography that faithfully paints the picture of the mundane exterior shots, but also the neon interiors that made up eastern Europe during this age. This film definitely casts an easily immersive experience to surrender yourself to the kind of panic and uncertainty that filled the air during the fall of the Berlin Wall, and If this isn’t enough, a vibrantly echoed soundtrack of 80’s new wave hits more than audibly set the stage for some graphic chaos that never relents on its opposition. Despite the music generating more than a healthy dose of toe-tapping from this critic, I was alarmed at the jarring mixing that was being done to the levels of its volume that would jump from time to time. Most of this can be explained by the music feeling like a tool to increase the intensity of a chase or fight sequence, but I refer more to the toll that it took on my ears as it picks and chooses various times during a single sequence when to increase and decrease the decibals. Picture a child manning the control switches in a car; it is that alarming.

From a storytelling perspective, this is basically an inquisition scene to that of Theron’s Broughton for the chaos that has ensued over the last ten days. There are a lot of problems that I have with this perspective, mainly that the editing of present day and past flashbacks are so jumpy that I often had trouble reminding myself where I was at in the script, but more so in the flaws of storytelling that the writers have no better way to cover up. For example, one of my favorite cliches in this particular kind of setup is how a character can explain in such vivid detail everything that went down during a scene and location where she wasn’t at. Then there’s the chronological sequencing which went off of the rails more than once. There were more than a few scenes in the film where there would be a flashback within a flashback, and it left me aghast at just how overcomplicated these simple tasks performed themselves. Thankfully, the jumpy nature does settle down during a second half, which was definitely the movie’s strengths once it has riddled itself of all of the gimmicks from the first act of the movie that handicapped it at nearly every turn.

A lot of the reason for this is the big twist midway through that does add a much needed dose of intrigue into the redundancy that was muddling the progression. This becomes a sort of cat-and-mouse thriller between Theron and her mysterious antagonist who prefers to work in the shadows of betrayal. The mystery itself isn’t that difficult to figure out thanks to a trailer that was more than slightly revealing, but it is the best case scenario for the many directions that this film could’ve taken us. It’s during this welcome mood change early on in the third act where I gained my biggest appreciation for the film because of its urgency that couldn’t have come at a better moment. As for the finale itself, it does have one too many endings that further prolong and test the patience of the audience who were satisfied with the conclusion ten minutes prior. There is a twist too many that never equals the importance of that of the betrayal twist, but I can at least commend a film that always throws a monkey wrench to its audience who thought this one would again take the easy way out, an avenue that this blonde never takes.

What blew me away was the artistic integrity of the film, particularly in that of the fireworks in front of and behind the camera during some gritty fight scenes. If you’re an action junkie like me, this film has got you completely covered in all of the bone-crunching carnage that keeps on kicking. The fight choreography is superb, showcasing the determination that Theron puts in to become this character. Charlize does perform each and every one of her devastating moves, and it pays off especially well during a stairway fight that is articulately timed. The sound mixing too, during this sequence plays a pivotal role in magnifying the true impact of every hit or kick that our characters in view soak in. The camera work here is a marvel of visual decadence, and being a student of that Inarritu style, I appreciate when a sequence isn’t afraid to leave the camera on during long periods of time before cutting. The stairs scene isn’t one entirely unedited sequence, but it is manipulated in such a way that it never gives you time for breath. It, like the endless number of bodies that stack up, never relents on pulse-setting punishment to kick the adrenaline into overdrive.

Of course all of this would fall apart without the work of an impressive collection of Hollywood heavy hitters at the helm in portraying these vibrant personalities, especially that of Theron and McAvoy who are committed to their roles. The film flows the best with charisma when this duo are on-screen together, as it offers a chance to see two method actors who really play into these outlines and make them their own. Theron as Broughton is everything that female ass-kickers in 2017 are all about. Lorraine is of course beautiful and dangerous, but the film takes valuable time to appreciate her cunning intellect along the way, proving that a woman can have beauty AND brains to get the job done. Theron says so much with a cold stare that there is never really any need for the long-winded threats that follow, but we’re of course happy to oblige on such a commanding presence that only Charlize could hone. McAvoy too equals Theron’s leadership as Percival, a flawed womanizer agent with a personality second to none. James is definitely one of my favorite actors, and while Percival isn’t his most memorable role from 2017, it is the one that allows us to marvel at the man who omits so much charm from a single crooked smile. In addition to these two, the great Toby Jones and John Goodman round out the cast, and add prestige to this cult-like graphic novel to please its droves of longtime fans.

THE VERDICT – Though narratively flawed at nearly every turn, there is enough artistic merit in ‘Atomic Blonde’ to indulge in its ass-kicking romp that constantly keeps the charge moving. Theron and McAvoy are two of the modern day greats, and the inclusion of 80’s pop music Americana at their devastating disposal offers a throwback that is equally as visually enticing. The second half is definitely much better than the banal first half, but I’m not quite ready to call this the next Bond or Wick without some much needed consistency.

6/10