Yeah, Atomic Blonde ends up being exactly the way it looks -- the female version of John Wick -- but that doesn't necessarily have to be a bad thing. With the right woman filling the void and a smart grasp on the style that's going to overpower the substance, a tweaked riff on the gritty, quasi-realistic combat and gunplay could undoubtedly coexist with the latest Keanu Reeves' property. Fresh off her career rejuvenating performance in Mad Max Fury Road, a physically and emotionally demanding role, Charlize Theron's furious gazes and fierce, yet vulnerable body language fits snugly within the boundaries of a global agent adept in martial arts and marksmanship. Theron's the Atomic Blonde, and she hits the bullseye with her captivating turn as a sleek, assertive killer; however, the film that throttles and glows around her tries to one-up the same styling from John Wick instead of executing its own aesthetic, and the shaky, threadbare espionage plotting that surrounds it doesn't do that familiarity any favors.
Atomic Blonde adapts Antony Johnson's "The Coldest Night", which is set in late-80s Cold War-era Germany shortly before the collapse of the Berlin Wall. High-level British agent Lorraine Broughton (Theron) plops down at an interrogation table, showing the clear signs of surviving more than a few ordeals before she arrived. Seated in front of her are MI6 bigwig Eric Gray (Toby Jones) and CIA exec Emmett Kurzfeld (John Goodman), and they're inquiring about the murder of field agent James Gascoigne and the location of The List , a rundown of operatives -- on both the UK/US side and for the Soviets -- that has been concealed within a wristwatch. Lorraine had been tasked with meeting up with contact David Percival (a sturdy James McAvoy doing his best Tyler Durden impression) so she could recover the list and assassinate the double-agent believed to be at the center of the agent's death and the disappearance of the watch. Of course, Lorraine sitting in front of them indicates that all didn't go smoothly, and the film's flashbacks elaborate on the reasons why.
Though he didn't receive a screen credit, David Leitch had nearly as much to do with the success of John Wick as co-director Chad Stahelski, which can be strongly felt in the stylistic punch of Atomic Blonde. Bathed in icy-cold cinematography that's warmed up with neon radiance and sporting a vigorous pulse of 80s music, this almost feel like a prequel or extension of that assassins' universe, making comparisons drawn between em both effortless and necessary. Despite the shift in era, the thickness of British accents, and touches of enhanced style with Lorraine's wardrobe -- a particularly engaging fight involves a black turtleneck pulled up over her pale face and platinum hair, not unlike a ninja -- much of Atomic Blonde's look operates on transplanting the aesthetics that worked in Leitch's prior effort and turning up the dial. Like this, while appealing, the era's tunes powering the film's energy seem on-the-nose in their frequency, and the strategic framing of Lorraine submerged in electric glow as she stands barside or connects investigative dots at "home" can be both mesmerizing and redundant in execution.
The expectation for Atomic Blonde, as if the title weren't an indication, seems to be that the presence of Charlize Theron will prove strong enough to not only distract from the film's doppelganger tendencies, but that she'll embrace the overarching mood and make it her own through a committed performance. This works, to an extent. Theron poured heaps of energy into preparing for the role's physicality, both from a purely athletic standpoint and that of surgical martial-arts execution, and she embraces a distinct, honest badass espionage warrior in Lorraine. The glossiness and bluntness of the film's style doesn't carry over to her handling of the combat: Theron makes her appear skilled yet not mechanically so, lending realism to movement when she blocks attacks and launches her own. She also isn't merely a glossy superspy with her interactions, either, to which her performance reveals a steeled, yet wide-eyed human being who must actively maintain her composure and who can't resist temptations and seduction, punctuated by her evolving relationship with French low-level spy, Delphine (Sofia Boutella).
Atomic Blonde encompasses Charlize Theron with heaps of eye candy, from submerging her body in an ice-filled bathtub and wrapping her face with bold red lighting to silhouetting her combat-ready physique against a bright screen, a not-so-subtle nod to both Kill Bill and Highlander. The visuals can't conceal its lackluster plot, though, one that erroneously places faith on the Cold War-era historical essence -- and the toppling of the Berlin Wall -- as a sufficient propellant. While it's admirable to see the script take a stab at world-building by emphasizing watches and watch dealers as a clandestine culture, a creative way of transmitting info through the moving parts of the time piece, the practicality of its implementation leaves a lot to be desired, especially once the notion of someone accurately memorizing an entire list of names anyway comes into the equation. The conceit of the film also echoes another past exercise in espionage, that of Mission Impossible and its passed-around, highly-sensitive NOC registry of embedded spies, tossing both identifiability and staleness into the obstacles dropped on Lorraine.
David Leitch certainly knows how to orchestrate action, though, and Theron's adaptability and willingness to hurl herself into expansive hand-to-hand combat and stunt work empowers the hell out of Atomic Blonde. Less about gunplay than about gritty fisticuffs, the chaos surrounding Lorraine contains a credible briskness and intensity about it, meshing well with the film's amplified visual and sonic attitude. There's a particularly satisfying long-take
Video and Audio:
Atomic Blonde is armed to the teeth with style, from frigid and stony cinematography through the streets of Berlin to the blistering shades of red and blue pouring from lounge lighting. Universal's 2.35:1-framed, 1080p AVC Blu-ray gets the rigorous stylings right, with some caveats in the clarity department. Radiant shades of light provide solid gradation of color throughout, while skin tones fluctuate from standard warmth to mildly saturated depending on the desired temperature of the scene, both of which project nimble and responsive palette shifts; the film relishes icy blues, though, and the gradation within them tends to be superb, especially the subtle warmth of Lorraine's blonde hair. Contrast levels are impressively well-balanced, enhancing the depth of close-ups and the mood of somber lighting in apartments and watch shops. A few black levels err lighter and noisier than expected, but that's infrequent compared to the robust, rich contrast balance. There's satisfying clarity in clothing and skin texture, and the minute details of ice cubes, watch mechanics, and strands of hair are quite well-formed, but a handful of sequences possess a restrained haze and general flatness to em that tiptoes beyond inherent digital issues. Atomic Blonde looks great, but it just isn't a flawless victory.
The 7.1 DTS-X track comes just a hair or two short from being perfect as well, but it absolutely delivers the goods in terms of action-movie bluster. Hand-to-hand combat telegraphs firm mid-range and lower-end clarity with punches and kicks, while the pop of firearms -- silenced or not -- unloads fierce heftiness and precision at the front end of the stage. Subtle sound effects of ice-cubes rattling and liquor splashing, of buttons clicking and glass shattering taps into splendid high-end clarity. Dialogue is consistently audible and incredibly engaging, wrapping around the richness of Charlize Theron's British accent and the gruffness of James McAvoy's delivery with plenty of nuance and organic response in the front-end channels. Rear activity emerges when expected, with tumbling walls in buildings, crashing cars, and the dimensional falling of a body. My only qualm comes in the balance of the music with the sound effects: sometimes the thump of bass gets out of control alongside the higher-end elements, drowning them out more than they should. Aside from that, it's a bold and brutal high-def track.
Lighting the spark of the film's supplements is an Audio Commentary with Director David Leitch and Editor Elisabet Ronaldsdottir, in which the pair dissect the history of sequences and how they factor into the progression of Charlize Theron's character. I like the rapport that they share, in which Leitch discusses shooting all this footage and Ronaldsdottir finds the story embedded within the content they capture, which factors into editing down sequences and punctuating the tone with music and visuals. They discuss changing the film's title from that of the graphic novel, tweaks in language during ADR recording sessions, creating danger that wasn't originally in the script, how the mantra "cool overrides everything" factored into the film's overall objectives, the chemistry between Theron and Sofia Boutella, and how the stairwell long-take illusion was created with strategically masked cuts throughout. There are gaps of silence and some overly fawning moments about the cast, but it's generally a good listen.
A collection of brief featurettes fills out the rest of the extras, trading interview bursts with clips from the film and behind-the-scenes footage. Welcome to Berlin (4:33, 16x9 HD) covers the film's location and historical essence, as well as how Budapest filled in for some of the 80s take on the city. Blondes Have More Gun (7:01, 16x9 HD) delves into the film's brutality and female-oriented action, notably how they molded the overall film's violent language to Charlize Theron's physical capabilities, and how candid the camerawork remains throughout the film. Spymaster (4:18, 16x9 HD) delves into David Leicht's grasp on spy-thrillers and on depicting Berlin, as well as how the film's action evolves alongside Lorraine's shifts in personality. Anatomy of a Fight Scene (7:52, 16x9 HD) takes a deep exploration of the "long take" in the building, accompanied with faux picture-in-picture and side-by-side comparisons that track throughout the entire sequence in either small-screen or full-screen fashion. And Story In Motion, with optional Commentary with David Leicht, features in-motion storyboards.
Rounding the disc out is a series of six Deleted/Extended Scenes (7:23, 16x9 HD). A standard-definition DVD Copy has also been included, as well as a Digital HD slip.
It's hard not to dig Atomic Blonde. David Leitch brings a familiarly gritty, stylized presence to the spy-thriller graphic novel adaptation, capturing both combat and conversations with mesmerizing visuals and 80s tunes that consistently interweave with the narrative itself. Charlize Theron proves to be a fierce heroine as well, dedicating herself to extensive hand-to-hand work and bouts of gunplay that carry a certain sort of raw, unpretentious authenticity to it all. And the twists and turns of the espionage unfolding in 80s Berlin possesses an effortless sort of intrigue, alongside restrained world-building while making this rendition of the region and era distinctive. Well-composed, hard-hitting, and commanded by an engaging viewpoint on a trained, yet flawed female agent, it's a tremendous and thrilling amount of escapism; however, the illusion leaves itself exposed with scripting issues that overly prioritize style over substance, to a point that credibility comes into question and early on. Universal's Blu-ray looks and sounds tremendous, and arrives with a fine commentary and a clip full of little extras worth checking out. Recommended.