The 'Not-So-Critical' Critic: THE MAN FROM U.N.C.L.E.

The 'Not-So-Critical' Critic: 

on THE MAN FROM U.N.C.L.E. (2015, 116 minutes, PG-13)

On to the next film that has a stylistic flare...

Director Guy Ritchie helms this project with his usual lavish style, but smart enough to have toned down a bit so not to distract from the story.  He is able to put together a fresh spin on the overpopulated list of spy films recently released in 2015.  And I do mean busting at the seams.  We have already had SPY and MISSION: IMPOSSIBLE - ROGUE NATION.  This week will be HITMAN: AGENT 47, and to finish the year we have BRIDGE OF SPIES (the latest pairing of Steven Spielberg and Tom Hanks), SPOOKS: THE GREATER GOOD, and SPECTRE (we all know this will be the top dog).

Now, back to THE MAN...

This film is based off a TV show with the same name that ran in the mid 60's, and acts as an origin story.  The male leads Henry Cavill (Superman) and Armie Hammer (The Lone Ranger) play an American and Russian spy, respectively, who are teamed up to stop the sale of a nuclear warhead to a hidden Nazi faction that survived WWII.  Their clashing personalities worked well enough for the story but Cavill's character, Napoleon Solo, seemed the secondary character to Hammer's Illya.  These portrayals are the epitome of Cold War spy stereotypes and brings back some fond memories.  Along with Alicia Vikander playing the fiery vixen Gaby, who added a sexy and intelligent female lead role to this foray, the backstories did not deter from the overall plot and made for a richer experience.

One of the talents that Ritchie exhibits in this film is the ability to create a greater level of tension in action sequences.  As an example, Solo calmly sits low in the rear seat while directing Gaby during a frantic car chase.  The soothing and matter-of-fact tone in his voice pulls you back like a crossbow bolt being loaded, and then the quick switch back to the noisy and visually violent maneuvering of the chase triggers the release, sending you flying forward into the mayhem.

With still as much Ritchie verve found in this film, I'm not quite sure why it didn't raise as many hackles among the critics.  To be fair, accompanying this 60's period piece is the accompaniment of an expertly crafted soundtrack, to include Roberta Flack and Nina Simone (how can you go wrong), and choice locations in Italy to distract haters from the film.  But then again, haters will hate. 

Grade: B+