The nature of recreating stories from past eras is that those stories are often structured around the values of the time – now that we’re seeing more remakes and reimaginings than ever, we’re continually exposed to bygone principles restaged with no contextualisation.
This is an over-worded way of saying that Guy Ritchie’s The Man From U.N.C.L.E. feels dated – but it manages to be a sufficiently entertaining spy flick.
Napoleon Solo (Henry Cavill), former art smuggler and top C.I.A. agent, works alone. But in the midst of Cold War tensions he is forced by his superiors to pair with surly KGB operative Illya Kuryakin (Armie Hammer) to prevent a far greater threat to the world – stolen information that could lead to the construction of nuclear bombs.
Off the bat, the name of the film is terrible – sure, it’s the name attached to the original property, but to a person who judges books by covers, it’s not a thrilling proposition. ’60s attitudes are dragged along with the title and show up poorly in the light of the modern age – this is especially true when a late set piece sees Gaby Teller (Alicia Vikander), previously established as confident and capable, locked up as a classic bird-in-the-cage plot device.
The chemistry between the leads is enjoyable, as both Cavill and Hammer carry themselves with a certain self-awareness that makes them just a little more amusing than the characters would hope. Their conversations on the whole are filled with so much innuendo and cock-fencing that you’d be forgiven for wishing they’d just make out and get it over with, but this is a film by Guy Ritchie, not Sam Mendes.
Ritchie’s directorial prowess shines through when crafting the visual gags that make the movie worth seeing. Of particular note are an impromptu picnic during a chase sequence, and a fruitless debate over hostage etiquette. Otherwise, the film’s humour is based in eyebrow-raising quips and classic one-upmanship that are just on the right side of overdone.
There’s also an inimitable style that Ritchie brings to the screen that shines through; Victoria (Elizabeth Debicki) sliding catlike onto the back of a lounge is elegantly framed and supremely sinister. It’s this that lightens the exposition and keeps the film enjoyable.
The more Ritchie allows for his personal style to shine through, the more this series will flourish, given time (and it will be given time, no doubt). For now, it is comfortable if unchallenging spy viewing.
3/5 stars
The Man From U.N.C.L.E. is in cinemas now.
