Tag Archives: Gina Carano

Haywire (2011, Steven Soderbergh)

Haywire’s plotting is meticulous and exquisite. And entirely a budgetary constraint. It’s a globe trotting, action-packed spy thriller with lots of name stars. The action in the globe trotted areas, for instance, is more chase scenes than explosions. Haywire doesn’t blow up Barcelona, lead Gina Carano chases someone down the streets. She doesn’t land a 747 in Dublin, she has a chase scene on the rooftops. And director Soderbergh does phenomenally with those sequences. While Carano’s in real danger and Soderbergh’s shooting realistic DV, David Holmes’s music riffs back to sixties spy movie music and contextualizes things. You still get to have fun watching the spy movie. You’re supposed to have fun. It’s just a different kind of spy movie.

One where the action set pieces are what Carano does, whether it’s stunts or fight scenes, she’s the action. Soderbergh and writer Lem Dobbs space out the action sequences, sometimes not actually going with a big Carano sequence in the situation. Sometimes the film focuses on her adversaries or allies. Soderbergh and Dobbs do a lot of action thriller without a lot of money.

The film starts with Carano–former Marine and spy-mercenary–is on the run. We don’t know from who, because when Channing Tatum shows up to bring her in, they don’t say the character’s name. It becomes obvious pretty soon, but Soderbergh and Dobbs go through all the motions to give Haywire a conspiracy thriller foundation. They don’t have time to engage with it–or, presumably, money–but it’s part of the film’s texture. Some creative decisions in Haywire just plump up the film. Soderbergh’s not trying to make a low budget spy thriller, he’s making a spy thriller with a low budget. He’s not… chintzing.

So after the first Carano action sequence, the film gets into flashback and explains Barcelona and Dublin, which keep coming up in dialogue. They seem less destinations for major spy intrigue and more stops on a tour group’s European vacation. Nicely, both sequences really pay off. They live up to the hype, even if the hype was really nonspecific so Dobbs and Soderbergh could up the mysteriousness.

Then it’s the flashback catching up to present and the film resolving. Ninety-three minutes of not entirely lean–though subplot-free–narrative. Carano works her way through various other spies and government officials. They’re sort of in glorified cameos, but it never feels like it. The magic of the pacing. Bill Paxton, for example, is in a cameo role. He’s in two scenes. One on the phone. But Dobbs and Soderbergh pace it where Paxton feels like an active supporting player. It’s impressive to see executed. Paxton’s fine–it’s a cameo, he’s got nothing to do–but the feat is how the filmmakers pull it off.

Paxton’s Carano’s dad. Ewan McGregor is her spies for hire boss, Tatum is a fellow spy for hire, Michael Fassbender is a fellow (but British) spy for hire. Michael Douglas and Antonio Banderas as government guys who hire spies for hire. Anthony Brandon Wong and Mathieu Kassovitz are the guys the spies for hire go after. No one trusts anyone else. Something Dobbs and Soderbergh take their time addressing, which shifts the film from spy action to spy thriller, both for the film itself and Carano’s understanding of her situation.

So Carano.

As dubbed by Laura San Giacomo.

Yes, really.

Physically she’s great. The stunts, the fighting. It’s all nearly silent–trained killers don’t exchange banter in the seedy international spy ring underbelly of Dublin–so it’s just the fight, just the choreographer, just Carano and the actors and the stunt fighters. The fights are excellent. Soderbergh’s editing and photography, the fighters, Carano–great.

Carano dramatically? She’s really likable. Sympathetic. But the performance is hinky; the dubbing explains it. Carano’s dialogue is already terse so San Giacomo doesn’t really build a character. And the comedy moments are a little off. But it’s fine. Carano does well. The physicality of her performance is spot on. Soderbergh builds the movie–tone-wise–around her action sequences. The chase in middle flashback informs how something in the first act present was done. Exquisite. Always exquisite.

The cameos are all good. Bandares and Douglas have the most fun, though different kinds of fun. Tatum’s good. McGregor’s good. Fassbender’s more just effective. He’s a glorified cameo too. The movie’s Carano, Tatum, and McGregor.

Under pseudonym, Soderbergh also shot and edited Haywire. Technically it’s great. There’s great editing, there’s great photography, seperate sometimes, together sometimes. He does some excellent work in Haywire. With Holmes’s music an essential support. Holmes gets to foreshadow the slight change in tone for Haywire; how the filmmaking, narrative, and music shift gears–the music goes first.

There’s a lot of awesome to Haywire. It’s just an action movie on a budget with a problematic lead performance. The film does well not drawing attention–or even acknowledging–its constraints. But they’re there nonetheless.

2.5/4★★½

CREDITS

Edited, photographed, and directed by Steven Soderbergh; written by Lem Dobbs; music by David Holmes; production designer, Howard Cummings; produced by Gregory Jacobs; released by Relativity Media.

Starring Gina Carano (Mallory Kane), Ewan McGregor (Kenneth), Channing Tatum (Aaron), Michael Fassbender (Paul), Michael Douglas (Alex Coblenz), Antonio Banderas (Rodrigo), Anthony Brandon Wong (Jiang), Mathieu Kassovitz (Studer), and Bill Paxton (John Kane).


THIS POST IS PART OF GIRL WEEK 2018 HOSTED BY WENDELL OF DELL ON MOVIES.


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Deadpool (2016, Tim Miller)

Deadpool never gets to be too much. The film quickly goes into flashback–narrated by lead Ryan Reynolds–but not before going through an elaborate, effects and humor filled action sequence. Maybe even two. But I think one.

It takes Deadpool over an hour to get the viewer caught up on Reynolds’s origins as a superpowered, red spandex wearing former mercenary on a mission to fix himself. Literally. Villain Ed Skrein has turned Reynolds into the super-antihero and only he can turn him back. Reynolds’s transformation severely scars him, which is why he can’t go back to girlfriend Morena Baccarin, instead leaving her available to become a damsel in distress.

And screenwriters Rhett Reese and Paul Wernick actually do make an effort to give Baccarin more depth, but it doesn’t work out. She’s amiable but without enough personality to make an impression. It also doesn’t help director Miller doesn’t care. He cares about making all the gimmicks palpable, then promptly ignores them for the rest of the film. Because Deadpool doesn’t build in any intensity. It’s always exactly the same. The special effects are always great, Reynolds is always sort of likable, but the movie doesn’t move. It plods along with bursts of effects at predictable intervals.

Of course, flashbacks don’t equal character development. In fact, they sort of kill it and spending more than half your runtime on setting up what amounts to a lifelessly directed superhero action finale. It’s a long 108 minutes, especially since no one ever pays off. There just isn’t any payoff in the script–Deadpool has American Pie-style humor in a graphically violent comic book movie. But it’s more. It’s Miller and it’s the cast.

Everyone’s a caricature, which might work if Reynolds wasn’t, but he’s a cartoon character who wants to be a caricature. The cast lacks any personality–Skein is shaved head British villain, Gina Carano is his super-strong sidekick who doesn’t talk, T.J. Miller is an exceptionally unfunny sidekick for Reynolds. None of them are likable. Skein and Carano’s villains are empty characterization. Director Miller apparently told actor Miller to be a lifeless tool.

There’s some life once Leslie Uggams shows up as Reynolds’s old blind lady roommate. Those scenes are at least played for fun. There’s no fun in the rest of it after a point. Some funny superhero movie jokes but nothing fun. Not even Stefan Kapičić’s obnoxiously by the book Russian X-Man (Kapičić just does the voice, the excellent CGI occupies frame), is ever any fun. Because Reese and Wernick beat the same notes on the same drum. Over and over again.

Deadpool is exactly the same at the end as it is in the beginning, as it is in the middle, just without Miller making any effort to do anything with the project. He shows off a bunch of toys, then puts them away to turn a generic finish.

Also, just like flashbacks don’t mean character development, violence doesn’t mean dangerous. Reynolds is in no life threatening danger throughout the present action. He’s more under threat of inconvenience, which the film uses to some success (and failure) with limb regeneration. But Miller (the director) doesn’t acknowledge the particulars in plotting out fight scenes. Skrein and Reynolds’s face off, for instance, is rote.

All Deadpool needs is a little momentum, a little sense of urgency. Miller doesn’t create any, Reynolds doesn’t either, and the script is a champion lollygagger. Instead, Deadpool just moves amiably along, walking a slow march on a broad path, trying not to even make eye contact with edgier possibilities.

1/4

CREDITS

Directed by Tim Miller; screenplay by Rhett Reese and Paul Wernick, based on the Marvel Comics character created by Fabian Nicieza and Rob Liefeld; director of photography, Ken Seng; edited by Julian Clarke; music by Junkie XL; production designer, Sean Haworth; produced by Simon Kinberg, Ryan Reynolds, and Lauren Shuler Donner; released by 20th Century Fox.

Starring Ryan Reynolds (Deadpool), Morena Baccarin (Vanessa), Ed Skrein (Ajax), T.J. Miller (Weasel), Gina Carano (Angel Dust), Leslie Uggams (Blind Al), Brianna Hildebrand (Negasonic Teenage Warhead), and Stefan Kapicic (Colossus).


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