I will be perfectly honest in saying that I had zero interest in Haywire and potentially seeing yet another film exploiting the sexed-up-killer-fembot stereotype that plagues modern Spy-Fi; but with the illustrious Steven Soderbergh at the helm, and not to mention an absolutely killer (pardon the pun) cast, there was no way not to see it. Result? Color me impressed.

Mallory Kane, former marine and private operations specialist, is at a cross-roads. She hates her boss/former lover, wants to quit her job, and move on with her life. However, when an op goes south, and by south I mean she is set-up to be taken out, she decides to put on her whoop-ass pants and open her big bag of tricks on those who have transgressed her.

Of course, this being a Soderbergh film, you have no sense of the plot until about 2/3 into the film; whereby the narrative starts somewhere in the middle, goes back to the beginning, and revisits the middle before plowing through to the end.

So here’s what to love about the character Mallory: she isn’t an angsty, girly, conflicted woman. She is an operative who contemplates her life goals and career, makes highly calculated decisions, and then goes about her business of assassinations and generally kicking ass in some of the best and most realistic fight scenes I have ever seen on film.

Here’s what’s to love about the actress, Gia Carano, who plays Mallory: she’s a champion mixed-martial artist with a body, and muscles, and who not only knows how to take a hit, but gives it back in spades. There’s a reality in that if you take a hit from a 6’5 guy, chances are you’re gonna feel it. This movie doesn’t shy away from Mallory taking an ass kicking. There’s also the reality that Mallory isn’t  a 90lbs fembot in stilettos with jutting ribs taking out guys 4 times her size and weight with a roundhouse kick (which by the way Hollywood – ISN’T. REMOTELY. POSSIBLE). But all that being said, I could have done without the Rambo-style make-up job at the end of the film.

Here’s what to love about the film: the back story. Covert Ops is a business. There are contract negotiations. Clauses. Addendums. Payment plans. Attempted poaching of employees. Jerky co-workers and territorial bosses. Operation specialists are not lone wolves. There’s a tedium to wet-work that necessitates team work and these teams come with a messy web of infrastructure supporting their every move. Mallory is keen on this end and makes sure to conduct some back door dealings of her own, not just running amok killing everyone who ruined her day.

This is a film about loose ends. Normally, loose ends are the bits of fluff in our life we mere mortals need to tie-off, but this being the movies, and one about assassins, means that loose ends are not tied-off as much as they are macheted. Mallory has to make a clean and permanent break with her past which invariably comes with quite the body count.

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