BLACK BAG – Review

(L to R) Regé-Jean Page as Col. James Stokes, Naomie Harris as Dr. Zoe Vaughn, Michael Fassbender as George Woodhouse, Cate Blanchett as Kathryn St. Jean, Tom Burke as Freddie Smalls, and Marisa Abela as Clarissa Dubose in director Steven Soderbergh’s BLACK BAG, a Focus Features release. Credit: Claudette Barius/Focus Features © 2025 All Rights Reserved.

Like a smart, stylish, twisty spy thriller with a dash of dry British humor? Then Steven Soderbergh has a film for you. BLACK BAG stars Michael Fassbender and Cate Blanchet as married spies George and Kathryn in this cleverly-written British-set spy thriller. When George is assigned to uncover a leak in MI6, one that risks exposing a top-secret plan called Severus, the pressure is on. “Fun and games,” as George puts it, ensue.

But it is not comedy but spy thriller jolts and twists we get. The film’s title comes from a term these married spies,use for things they have to keep secret, even from each other. “It’s in the black bag,” or just “black bag” is the phrase they use for those secrets, and in fact, everyone who works at the spy agency uses that term, as they are not the only couples there. If you are a spy, who else could you safely have a romance with besides someone at your agency?

BLACK BAG jumps right into things from the first shot, with titles on screening reading “Friday” and “London,” and a long take following George (Michael Fassbender) on a quick stroll through sophisticated London streets, which sets the film’s stylish tone. The shot follows him into a neon-lit club packed with dancers, down some stairs to a lower level, and out to terrace under stars, where he meets with fellow spy Philip Meacham (Gustaf Skarsgard). They chat briefly about Meacham’s marriage, which is on the rocks after he cheated on his wife, with Philip mentioning George’s famously solid marriage as the exception in their line of work. After George suggests that Meacham’s wife might be less angry if he goes home, they get down to business – which is that a traitor in their ranks who may have exposed a sensitive plan known as “Severus.” Meacham then hands George a list of possible suspects.

We don’t see the list but Meacham mentions that George’s wife Kathryn (Cate Blanchet) is on it, and then asks George how long the investigation will take. “About two weeks,” George replies, which prompts Meacham to say that if “Severus” gets out, thousands will die. “OK, one week,” says George.

That flash of dry humor also helps set the film’s tone, along with the visual elegance of the long opening single shot. But the opening sequence efficiently does a number of things besides that, including establishing place, who these characters are, the puzzle to be solved, all while adding a ticking-clock aspect to motivate the action. The film never even mentions MI6, but we can surmise that from the London locale. Hitchcock would be proud.

“Efficient” is a good word for this highly-entertaining thriller, which runs a mere 93 minutes. Those who complain about overly-long films should appreciate that, yet BLACK BAG gets everything done without skimping on visual style, atmosphere, or any needed element.

A couple of days after George’s meeting with Meacham, the latter dies suspiciously, upping the pressure to find the leak. George and Kathryn had already planned a dinner party for other couples at the agency, so George now turns the dinner into an opportunity to probe for information, as some of the guests are on that list we didn’t see. Kathryn asks him what’s on the menu, to which George replies “fun and games.” “Will there be a mess to clean up?” she asks. “With any luck,” he replies.

The “fun and games” is a reference to “Who’s Afraid of Virginia Woolf?” which goes to the original idea for the script, suggested to screenwriter David Koepp by director Steven Soderbergh, who wondered what if the couple in that novel were spies instead academics. But this couple in this clever script are not the angry battling pair in that novel and movie, even though Koepp retained the name “George” from the book’s George and Martha. Instead, George and Kathryn are devoted to each other, to the point where they might put their marriage above anything else, which raises some interesting questions for a married pair of spies hunting for a traitor in their midst.

There are more literary and cinematic references, in this smart and gripping spy drama, which combines John LeCarre with Agatha Christie, tosses in some “Mr. and Mrs. Smith” and adds a dose of dry British humor, for a highly entertaining espionage mix.

BLACK BAG is an exciting spy thriller/drama but it is not an action film. There are no car chases and no shoot-outs although there is some violence and blood. The focus is more psychological thriller and solving the puzzle, with plenty of tense suspense and strong character development.

The film’s short running time and efficient direction mean that not much is spelled out or repeated, so audiences need to pay attention. However, we do get some reminders about important points, and nearly every character mentions George and Kathryn’s strong marriage, a key aspect in the plot.

There is a good deal about relationships in the film, with explorations of the others’ romantic relationships (which go to the whodunit plot) and there are some slightly steamy romantic scenes between Fassbender and Blanchet. No sequence runs very long, just enough to make the point well. The film moves at a brisk pace as it twists through it’s story, although never so fast that you can’t keep up – if you are paying attention.

Fassbender and Blanchet are both marvelous here, perfect in their scenes together. where they radiate sexual chemistry, and in their individual scenes. The rest of the cast are outstanding too, with a cast of characters who fascinate, who are mostly other couples. Tom Burke and Marisa Abela play Freddie and Clarissa, a couple mismatched in age but who have other attractions along with plenty troubles underlying their fiery romance. Rising-star Col. James Stokes (Rege-Jean Page) and in-house psychiatrist Dr. Zoe Vaughan (Naomie Harris) are better matched in age but less so in temperament. Pierce Brosnan plays a senior spy and team leader, Arthur Stieglitz, who has been there since the Cold War, while Gustaf Skarsgard makes a strong impression in his two scenes early on as Philip Meacham, with Kae Alexander in a brief appearance as his wife Anna.

For fans of clever spy thrillers, BLACK BAG is great fun. Steven Soderbergh’s couple-centered spy thriller is not a film with any grand statement to make, but it is a highly entertaining spy thriller that combines the chilly atmosphere of John LeCarre’s spy novels with Agatha Christie’s twisty cast-of-characters mysteries. If you enjoy any of that, plus a clever, original script with a plot to keeping you guessing, a touch of hot romance, and an intriguing bunch of characters with their own problems, BLACK BAG is just the ticket for you.

BLACK BAG opens Friday, Mar. 14, in theaters.

RATING: 4 out of 4 stars

“Mr. and Mrs. Smith” – TV series review

Donald Glover and Maya Erskine, in “Mr. & Mrs. Smith” on Amazon Prime. Courtesy of Amazon Prime.

Donald Glover is a multi-talented young man. Proof lies in his boatload of awards and nominations for acting, writing, directing, producing and in several aspects of the music biz. Further proof lies in his having enough clout to attract a slew of stars for mostly brief appearances in this eight-episode action comedy. Alas, “Mr. & Mrs. Smith” is not his best work as co-writer or co-star.

Glover plays a guy recruited by an unspecified secret agency to pose as half of a normal, bland couple while remaining perpetually on call for any kind of covert op, from protection to swiping documents to whacking designated baddies. The “wife” they picked for him (Maya Erskine) shares all the assignments while helping to maintain their cover. As is par for such courses, they don’t like each other until they do. Throughout the season, they quibble with each other between and during their jobs. He’s more experienced, but she’s smarter. He’s impulsive; she’s methodical. Both chafe at the others’ assertions of leadership in most situations they face.

Not a bad setup, but poorly executed. The scripts aren’t as funny or exciting as they should be. That’s especially disappointing since they decided to reuse the title of a superior 1996 series starring Scott Bakula and Maria Bello, and the zany “Brangelina” (aka Brad Pitt and Angelina Jolie) pairing in a 2005 movie. Third time under the banner was not the charm. All ran on similar façade and function dichotomies, though the movie upped the ante a bit with its spin of the spouses not even knowing each other’s secret identity. Those productions set the bar somewhat higher than this could reach. It’s not a remake of either. This incarnation fizzles on its own initiative.

The couple’s repetitious verbal clashes grow tedious. Action sequences are too few and far between, as they build to a fairly bizarre climax. Some of the guest stars pitch in bits of panache – notably Parker Posey, John Turturro and Ron Perlman. Same for either comedian Dave Attell or his clone in an uncredited appearance.

Worst of all, the two stars are seriously miscast. No credible chemistry to match their character arcs. Glover looks great with his shirt off, as he makes a point of proving several times (*author’s confession – I’d be tempted to do the same if my torso even closely resembled his. Alas, my six-pack is thoroughly insulated beneath an ample layer of less screen-worthy covering). On the other hand, there’s no insight into how Erskine looks without hers. The whole thing is quite PG-13 as to sex, language and violence. And unfortunately dull.

“Mr. & Mrs. Smith” is available streaming on Amazon Prime starting Friday, Feb. 2.

RATING: 1 out of 4 stars

OPERATION FORTUNE: RUSE DE GUERRE – Review

So, all savvy filmgoers know that the season for big, noisy action blockbusters is the Summertime (when the livin’ is easy), but with Spring break looming, well, why wait for some popcorn escapism? After all, we’re right in the middle of two big superhero franchise entries (from the competing studios), and a few days away from a thriller in a horror series, not to mention a sports sequel that opens on the same day. It may just be the perfect time for a spy spectacular since Bond is in flux (casting a new 007, y’know), Bourne is in limbo, and Mr. Cruise is about to trade in his flight suit for a tux full of nifty gadgets. I’m sure this new movie hopes to begin a “tentpole”, as it mixes in some satire and some “caper” elements (it’s a “movie mutt”, I tells ya’). Plus there’s a fan-favorite director behind OPERATION FORTUNE: RUSE DE GUERRE.

The opening sequence throws us right into the action as snippets of a violent attack on a secret lab are intercut with the clicks of a sharply attired Brit walking with purpose down a long hallway. At his destination, undercover operations supervisor Nathan Jasmine (Cary Elwes) gets his newest assignment from his boss Knighton (Eddie Marsan). It seems that the aforementioned attack was part of a theft of something deadly and unknown (it’s referred to as the “Handle”). And it appears that the thieves are going to sell it to the highest bidder, which would plunge the world into chaos. Nathan gets the go-ahead to assemble an elite team. His choice for leader, much to the ire of Knighton, is “human blunt force”, Orson Fortune (Jason Statham). His usual “cyber ace” (the “guy at the keyboard”) is part of a rival unit led by Orson’s “frenemy” Mike (Peter Ferdinando). The alternative is snarky American Sarah Fidel (Audrey Plaza). Luckily Orson’s backup “muscle” is on board, J.J. Davis (Bugzy Malone). As the mission ensues, Orson is surprised to see that a “bag man” is linked to undercover arms dealer Greg Simmons (Hugh Grant). But how to get past his heavily guarded estate? Just what does this billionaire want? Not if, but who. Greg was rebuffed when he tried to hire his favorite action film superstar Danny Francesco (Josh Hartnett) is “pop out” of his birthday cake. Sarah proves her cyber sleuthing “worth’ when she gets some dirt on Danny, thus adding him to the team. With Orson posing as his manager, and Sarah as his “arm candy”, can this unlikely trio pull a fast one on Greg and retrieve whatever the Handle is but the whole planet goes kaput?

In the title role, Statham once again delivers as one of the most consistent and compelling action stars. During several exciting action sequences ( a fight on a yacht, a chase into a building, etc.), this swaggering screen superman shows no hint of slowing down (as opposed to a certain 80s star whose stunt had to be “tweaked” and “sped up” AKA undercranking). The only problem is that his Orson, despite a new quirk (his “deal” involves private jets stocked with vintage vino), is pretty much like most of his other roles, even his self-parody in SPY. To give him a little more of a sparring partner, the filmmakers have cast Plaza, perhaps in hope of some “opposites attract” sparks. That never really ignites, but it’s a nice change for her from the edgy comedies and odd “indie flicks” ( though she was remarkably great in her crime thriller EMILY THE CRIMINAL, who could’ve kicked Orson’s tail). Yes, she does grab the laughs even though she’s saddled with the now cliche “gigabyte gobbledygook” (“Some firewall…I’m in!”), and really goes confidently “glam” as the big’s star’s “bimbo” Mikala. In that disguise, she has almost as much fun as Hartnett, who seems delighted to skewer spoiled, indulgent mega movie star “himbos”. Also “havin’ a laugh” is Grant who adds Greg to his growing roster of lowlife villains, combining elements of his Baddies” from THE GENTLEMEN and PADDINGTON 2. He can barely hold back a wink at the camera as he fawns over Danny while brazenly lusting for Mikala. Elwes has the stiffest of upper lips as the buttoned-down uptight exasperated head honcho, whose “slow burn” is matched by his superior Marsan. And kudos to Malone whose J.J. is a great laid back, highly skilled teammate to Orson.

Oh, that fave director I mentioned earlier, well it’s the prolific Guy Ritchie. Here he’s taking a respite from his low-class thugs and punks to hobnob with the smart set in lavish sets and locales, while sharp-dressed operatives ply their deadly trade. It’s all slickly and energetically done, but, well it’s just so familiar. From the aforementioned computer wizardry (I kept thinking of Napolean Dynomite’s “hacker” dreams) to the clumsy “actor tossed into real danger”, which was done so superbly in last year’s THE UNBEARABLE WEIGHT OF MASSIVE TALENT (you can’t beat Nick Cage making out with himself). Perhaps this was due to the film sitting on the shelf too long as it changed studio hands and dealt with real-life global dustups. The big “reveal” of the Handle lands with a dud (it might’ve been a threat from S.P.E.C.T.R.E.), and the double and triple-crosses become more tiresome and confusing than clever. Despite Statham’s combat skills and Plaza’s off-kilter delivery, it all feels like a MISSION IMPOSSIBLE rip-off Netflix seems to churn out several times a year. And even though its mid-end credits sequence revels in a “biting the hand” wit, the gag fizzles, and flops much like the largely forgettable OPERATION FORTUNE: RUSE DE GUERRE. Wonder if that’s French for “failed franchise”?

2 Out of 4

OPERATION FORTUNE: RUSE DE GUERRE is now playing in select theatres

ALL THE OLD KNIVES – Review

Thandiwe Newton in ALL THE OLD KNIVES. Courtesy of Amazon.

ALL THE OLD KNIVES is an intense political thriller with a relatively unusual framework. Eight years before the principal action, terrorists hijacked a commercial plane in Europe and wound up killing themselves and over 100 others. We learn that from the get-go. The mystery comes from newly-discovered evidence that there may have been a mole in the CIA who contributed to that disastrous failure. The head honcho Victor Wallinger (Laurence Fishburne) assigns his top agent Henry Pelham (Chris Pine) to head up this new inquiry. Primary suspects among his old colleagues are his then-girlfriend Celia Harrison (Thandiwe Newton) and their veteran department head Bill Compton (Jonathan Pryce).

Pine approaches the task with great reluctance. Newton left him and the spy biz right after the incident, morphing into a suburban mom. Pine still pines for her from afar. The screenplay includes many flashbacks to the time of the tragedy, showing different perspectives and collateral relationships and transactions that may or may not prove who was culpable. Beyond that, the less you know the more intense and suspenseful the viewing will be.

Director Janus Metz and his editing team did well at bouncing us between the film’s then and now without losing coherence. Good work also from the makeup and wardrobe crews makes the casts’ ages look appropriately different for the two periods presented. Among performances, Fishburne’s fans won’t get to see much of their guy. Pine plays it appropriately blank, telegraphing little of his character’s agenda, like a good spy should. Newton is the one who shines brightest, as she continues to defy the calendar. Though closing in on 50, in scenes of that earlier period, she looks no older than her early thirties, even in the less-clad moments.

The film is based on Olen Steinhauer’s source novel and screenplay. I haven’t read the book, but I’d bet his adaptation preserved its best in the transition to our screens. The script is taut, low-key and keeps us guessing until the end. The story presents more emotional layers and complexities than most espionage films. Not only are the embers of Pine and Newton’s old romance in play, but many other friendships and alliances that were meaningful to the players beyond their professional dimension. There’s less action than in most genre entries (no Jason Bourne heroics) but it’s offset by the suspense and tensions throughout Pine’s investigation, resulting in a highly realistic, human-scale package. If you’re seeking entertainment more cerebral than visceral, this one’s a solid choice.

ALL THE OLD KNIVES opens in theaters and streaming on Amazon Prime on Friday, Apr. 8.

RATING: 3 out of 4 stars

BLACK WIDOW (2021) – Review

Okay, now we’re talking “Summer at the movies”! Yeah, yeah we’ve had the newest entry in a “tentpole franchise” with the mind- (and butt) numbing F9, but this Friday’s big release continues a now 13-year tradition. We’re going back to the multiplex (or a deluxe “single-screen palace” for those lucky few) for a deep dive into the Marvel Cinematic Universe! “Excelsior’, as our much-missed “king of cameos” would say. Oh, and this dive is so “deep’ you may get a bit of whiplash in your reclining theatre seat (or in your “Lazy boy” at home, which is now an option, but go out, please) since it’s a prequel to the film in which we said goodbye to this character, from 2019. But really, after her introduction in 2010s IRON MAN II, and roles in six other MCU epics, she, yes S-H-E, is long, long overdue for a solo showcase (heck, a team-up with her bow-wielding BFF would’ve been nice). And after countless release date changes, it’s finally time for film fans to brace themselves for the sting (or should it be bite) of the BLACK WIDOW! To quote Stan once more, “Face front!”, or you won’t see the screen, ‘natch’ true believers!

The film actually begins a lot further back with a prologue intro, as a fiesty preteen, her electric blue hair shimmering in the late afternoon sun, pedals her bike in suburban Ohio, circa 1995 (hmmm, on the west coast, an aspiring SHIELD agent is encountering a certain Kree-based warrior, so it’s a pivotal time in the MCU). As she joins her blonde kid sister and “mama” (Rachel Weisz), “papa” (David Harbour) bursts through the door to announce that they must quickly pack “for an adventure”. After eluding the authorities, they hop on a plane that lands in Cuba. There they meet daddy’s boss, Dreykov (Ray Winstone), who promptly (well, after getting a prized “floppy disc”) separates the two sobbing sisters. After the main title “history montage”, the story zips ahead to 2016, In the aftermath of CAPTAIN AMERICA: CIVIL WAR, General Thaddeus “Thunderbolt” Ross (William Hurt) believes that he has trapped Natasha Romanoff AKA the Black Widow (Scarlett Johansson), who gives him “the slip” and escapes to a secluded trailer “safe house” in Eastern Europe, which is tended by pal and “acquisitions expert” Mason (O-T Fagbenie). Far away, an elite squad of female agents led by now not-so-lil’-sis Yelena (Florence Pugh) tracks down a fugitive woman. She’s fatally injured, but before she expires she plunges a needle into Yelena’s leg. It’s one of a bag full of hypos filled with a glowing red liquid. Later, Mason gives Nat her accumulating mail, which includes a rather large case, which i contains those red needles. On her way to her Prague apartment, she is attacked by an armored high-tech assassin, Taskmaster.. After thwarting that killer, and holding on to the package, Nat is attacked again at her “flat”, this time by Yelena. After their reunion “workout” Yelena tells Nat that the needles contain an antidote to the mind-controlling chemicals used to create the “perfect killer agents’ at the “Red Room” (we saw a glimpse of that “school” that creates “black widows” in AVENGERS: THE AGE OF ULTRON). But Nat is confused since that “program” ended when she “liquidated” its creator, the despicable Dreykov, who is still “in business” at a hidden locale. The “sisters” must distribute that serum, but they’ve got to elude an army of agents with the same training. This necessitates a “family reunion” as Nat and Yelena track down “papa” Alexi AKA the Red guardian at a frozen gulag and “mama” Melina at her remote pig farm (wonder which place smelled worse). But can this quarreling quartet save the new “Red Room” recruits and thwart the power-mad despot, Dreykov?

After sliding into that unforgiving black bodysuit for the past 11 years, you’d think that Ms. Johansson wouldn’t have anything new to offer as the reformed “killer queen”. And you’d be very mistaken. Sure she handles the incredible action sequences with style and flair (you could consider LUCY and GHOST IN THE SHELL as more “prep”), but she surprises us with the emotional depth this new “old” story reveals in Nat’s complex story. In the quieter moments, there’s still that haunted, sad look in her eyes as she mentally flips the pages of the ledger “filled with red ink”, as Loki taunted her with in the first AVENGERS. In this outing, we see the maternal, nurturing side of the Widow, reminding us of Ms. J’s tender “indie” film roles that followed ENDGAME, nabbing Oscar noms for MARRIAGE STORY and JO JO RABBIT. This is brought out by the superb and inspired pairing of her with the very talented Pugh. Nat wants to protect her while also being frustrated by her in an honest exploration of the sibling dynamic (or even mother/daughter as their matriarch is often absent). Pugh proves she’s ready for the big “studio flicks” after her last big low-budget efforts in the recent take on LITTLE WOMEN (earning her own Oscar nom as Amy) and the creepy MIDSOMMAR as a mostly irritating heroine. Her “burns’ are almost as debilitating as her “roundhouse” kicks ( the delight in her eyes as she calls “big sis” a “poser” is priceless). And we can’t neglect the parents, especially when papa is played with a merry wink by the scene-stealing Harbour. The years between the “escape” and the “reunion” have “filled out” his character in both personality and, well, “physical”presence. He boasts of imagined triumphs to fellow inmates (“But wasn’t Capitan America frozen?”), and later barely squeezes into his old “fight suit” (we keep waiting to hear the latex split). But his blustery blowhard has his tender side too, as he yearns to be a true pater to the ‘sisters”. The same can’t really be said of Weisz, who’s far from the warm matriarch. In fact, she’s nearly as cold as her farm’s stables, as Melina dismisses the women as a long-ago “assignment’ she’s almost forgotten. She’s slow to “warm-up”, though her revived passion for her partner is hilariously endearing and a bit moving. None of that applies to the story’s ‘big baddie”. played by Winstone as a waddling barrel filled with bile. His Dreykov craves control and power as most would desire food and oxygen. He’s a mastermind most worthy of Nat and her crew, including Fabenle’s affable Mason, who complains but still deeply cares for his often brusque demanding “boss”.

Hey Marvel movie geeks. Here’s the Widow over the years. First, on the far left is her look in those early 1960s Iron Man stories in “Tales of Suspense”. In the middle is her hero (or heroine) guise from the 70s in the “Amazing Adventures” comics, both drawn by “Dashing” Don Heck. And on the far right is a publicity still for a proposed 1975 ABC TV show starring Angela Bowie (yes, David’s wife).

Marvel Studios, once again, taps a talent that not a part of the “blockbuster brigade’ to guide this rousing adventure. Director Cate Shortland is mainly known for intimate character-driven “indies” like LORE and BERLIN SYNDROME, but can now add action/spy epic to her resume”. She keeps the tale moving swiftly with confidence in both the big stunt “set-pieces” (and big kudos to that stunt team) to the exchanges that reveal key elements of the main characters (the reunion meal is compelling as is the gas station verbal sparring of the sister widows). And oh, those action experiences, just as thrilling as anything in F9, but made more riveting by our interest in the heroines (and an out-of-shape hero). And as with the other MCU flicks, this isn’t set in a “bubble” as others refer to Nat’s recent exploits (Yelena wonders why she doesn’t send a call to that “god from outer space”). And I shouldn’t have to tell you to stick around through the end credits, should I ( a sweet “payoff’ for the fans)? And that’s who this globe-hopping romp was intended. The fans of the character are generously given a chance to say a proper farewell to the wondrous Johannson (she’s even an executive producer on this). Some are calling this entry unnecessary, but it gives proper respect to a comics icon that’s added so much to the Marvel heritage, letting a terrific teammate (a superb partner to all the Avengers, especially Cap in WINTER SOLDIER) ambling into one final sunset. Bye-bye and bravo BLACK WIDOW. And consider that “ledger” finally wiped clean.

3.5 Out of 4

BLACK WIDOW opens in theatres everywhere on 7/8/2021 and is available via Premier Access on the Disney+ streaming service on 7/9/2021

MILE 22 – Review

Here’s the newest effort from another prolific actor/director film making duo. While some directors (Quentin Tarantino, Wes Anderson, Charles O. Russell) have a group of actors they repeatedly work with (on stage I guess they’d be the “rep” company), other directors like to cast the same actor in several of their projects. From the “golden age of Hollywood’ there were duos like John Huston with Humphrey Bogart, and John Ford and John Wayne. In the late seventies Martin Scorsese’s lead of choice was Robert DeNiro, while in recent years Leonardo DiCaprio has been a frequent lead. With Steven Spielberg it’s Tom Hanks (after many flicks with Richard Dreyfuss and Harrison Ford). Now in theatres is the fourth collaboration of actor/director Peter Berg and lead actor Mark Wahlberg. Their previous team-ups were all based on true events: LONE SURVIVOR, DEEPWATER HORIZON, and PATRIOT’S DAY. Now they’ve made a go-for-broke, fictional, high-octane spy thriller, since Wahlberg usually stars in a big Summer action flick. But why so late in the season? For that, we’ve got to go the extra mile. Well several more really, all the way to MILE 22.

As the flick begins, we’ve got go back a few miles, years actually, to an operation conducted by an undercover (very deep undercover) branch of the CIA (like the IMF of Mission:Impossible, it’s “disavowed by the director”). James Silva (Wahlberg) is part of the team commanded by Bishop (John Malkovich), who’s viewing the whole thing from a secret locale along with a crew of agents monitoring live streams from hidden cameras and drones. Despite a few casualties, Silva and his squad get the job done, eliminating some undercover Russian agents working out of a suburban US. home. Cut to the opening titles, run over a montage/ bio of Silva (orphaned, personality issues, quick to violence, and a tactical savant). Jump to the modern day, to the US Embassy in Indocarr (?), where Silva and two of his teammates Alice (Lauren Cohen) and Sam (Ronda Rousey) are stationed. Everyone’s on edge because several containers of a radioactive powder AKA “fear dust” have been stolen. The tip from one of Alice’s informants proved to be a dud. Everyone is then shocked when said informant, local cop Li Noor (Iko Uwais) crashes his car through one of the barriers. He flashes a small cell phone-like pad at the gate cameras. When he’s brought in, he tells Alice and her co-workers that the device has a hard drive with all the location info on the toxins. But only he has the access code to stop the timed erasing of that info. And he’ll only give that code when he’s put on a plane headed out of his homeland. Shortly after some local officials arrive demanding that Noor be given to him, followed by an assassination attempt in the embassy infirmary. With time running out, Bishop’s team is called in to co-ordinate the 22 mile exodus from the embassy to a hidden runway. Is Noor legit? And can they get him (“the package”) to the plane despite a near-endless gauntlet of killers?

Yes there are lots of battles, but few compare to the fight these talented actors had to wage against a clunky script loaded with one-note abrasive characters. The most aggressively obnoxious may be Silva, who proves to be a poor role for the charismatic talented Wahlberg. It’s as though they took everything charming about his macho motor-mouth in THE DEPARTED (which nabbed him an Oscar nom) and twisted it into an arrogant,in your face” bully. You’d want Silva to have your back in a firefight, but you’d dread having any sort of calm conversation with him. Dismissive and cruel aren’t the usual qualities of a thriller hero (and there’s talk of a trilogy). Cohen doesn’t fare much better as the always on edge Alice, who is screaming at her ex-husband (oddly played by Berg) as they play an emotional “tug of war’ over their pre-teen daughter. This leads to her flinging the phone against a wall (wonder how many she goes through in a week). So terrific for so long as Maggie on TV’s “The Walking Dead”, Cohen can’t bring much humanity to another of the script’s screeching “spooks”. The most engaging of the crew may be MMA champ Rousey as the affable Sam, who doesn’t tolerate the tantrums of Silva and Alice. Naturally, this seals her doom. Speaking of champs, martial arts master Uwais is a compelling physical presence, moving like lightning at the center of the film’s best sequences. It’s a shame that his character of Noor seems so aloof and enigmatic with an unchanging sneer, never connecting with any other characters. And then there’s the usually strange Malkovich regulated to be the guy at the screen (he’s in a suit with Converse sneakers…how quirky), barking commands and counting down the minutes. At east he’s sporting a severe buzz-cut hairpiece.

Berg assembles the film in a blender, never letting a shot last more than a few seconds, and making sure the camera is always in motion. This may be an attempt to “amp’ up the tension, but this rapid-fire, staccato style merely wears us down and quickly becomes tedious, as does the near-constant barrage of “f-bombs” (ooo, so edgy). When the screen’s not full of smoke from one of the many explosions (they loves their grenades), the photography is murky and muddy, obscuring much of the picture. The opening attack on the two story house on Christmas Lane (really) feels somewhat realistic with the disorientation of the team, but the endless trek through the city streets becomes repetitive despite the different venues, going from a crowded bakery to a low-rent apartment complex (the Paradise, uh uh), which just reminds us of the superior quality of the RAID films that Uwais headlined. And in the final moments we get a ridiculous triple-cross denouncement that kicks the audience in the…pants…as they flee the theatre. MILE 22 literally screeches to a dead end, and makes us appreciate Cruise, Damon, and Craig even more. Still, that fight in the medical examination room is pretty good, so it gets…

1.5 Out of 5

Are You Ready to go UNDERCOVERS with JJ Abrams?

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For anyone worried that J.J. Abrams may fizzle out of ideas, don’t count on it very soon. In television alone, the success of ALIAS was one thing, but now with the sixth and final season of the unbelievably popular LOST almost upon us and his new sci-fi series FRINGE currently in it’s second season, Abrams’ prepares to introduce the pilot for a new series called UNDERCOVERS.

Abrams co-wrote the pilot for UNDERCOVERS with Josh Reims (BROTHERS & SISTERS, FELICITY) and is toying with the idea of directing it himself. The pilot is being produced by WBTV and has been described as a mix between MR. & MRS. SMITH and THE BOURNE IDENTITY. The story revolves around a married couple who work together as spies.

The first actor to be cast in Abrams’ new pilot is Gerald McRaney. The name may not sound familiar but many of you may remember him as TV’s MAJOR DAD from the early 90’s… he’s also played crucial roles in great TV dramas including JERICHO and HBO’s DEADWOOD. McRaney will play the couple’s boss and liaison, a CIA operative who recruited them.

Source: The Hollywood Reporter