Review: Haywire (15)

Undated Film Still Handout from Haywire. Pictured: Gina Carano as Mallory. See PA Feature FILM Film Reviews. Picture credit should read: PA Photo/Momentum Pictures. WARNING: This picture must only be used to accompany PA Feature FILM Film Reviews.
Undated Film Still Handout from Haywire. Pictured: Gina Carano as Mallory. See PA Feature FILM Film Reviews. Picture credit should read: PA Photo/Momentum Pictures. WARNING: This picture must only be used to accompany PA Feature FILM Film Reviews.
0
Have your say

HAPHAZARD and frenetic by name, Haywire is a coolly assured and breathlessly-choreographed action thriller that has been tailored to the dazzling athletic prowess of its leading lady.

Harking from a mixed martial arts background, Gina Carano is 5ft 8in of pure muscle and dynamism, who scythes through stunt sequences with breathtaking speed and power.

She could easily bruise the egos of James Bond and Jason Bourne.

In this battle of the sexes, the female is far more deadly than dozens of males.

Freelance gun-for-hire Mallory Kane (Carano) is one of the best in the business, keeping a cool head when the rest of her team panic during a bungled operation in Barcelona to rescue a kidnapped Chinese journalist (Anthony Brandon Wong).

Her handler, Kenneth (Ewan McGregor), accepts a job from the enigmatic Rodrigo (Antonio Banderas) and dispatches Mallory to Dublin, where she must pose as the wife of fellow assassin Paul (Michael Fassbender) and neutralise a high-profile asset.

However, the mission is fatally compromised and Mallory discovers that her friends have betrayed her, marking her for death.

She questions who to trust, even her former lover and accomplice, Aaron (Channing Tatum).

Mallory’s father, military man John Kane (Bill Paxton), inspires her to exact a brutal and bloody revenge, but there are powerful men working against his daughter including the well-connected Coblenz (Michael Douglas).

Haywire opens with a bang in a diner in upstate New York, where Mallory and Aaron engage in a furious brawl before she escapes in a car belonging to innocent bystander Scott (Michael Angarano) and relates her violent past in flashback.

Director Soderbergh, who put an artful gloss on the disaster movie with yesteryear’s Contagion, is assured behind the camera, editing together each bone-crunching skirmish with brio.

For adrenaline junkies, the film delivers.

However, all of the thrills come at the expense of plot, characterisation and emotion.

Lem Dobbs’s knowing script provides a flimsy narrative on which to hang each high-octane sequence and for all her physical flair, Carano doesn’t demonstrate much in the way of performance skills.