Atomic Blonde(2017). Fortitude. Betrayal. Death Of Sentiment.

This weekend, I went ahead and experimented with a micro-review of sorts for David Leitch's post Wick spy adaptation. And while my initial thoughts leaned toward the lavishly stylized, yet occasionally overcooked final product, I'm about to perform the improbable, and state here that Atomic Blonde, is a film that demands more than one sitting for proper digestion. I can only speak for myself, in that the presentation might be something of a hurdle to get past that initial viewing. But come the second time, so much began to hit the pleasure and inspiration centers of my mind. And knowing how it ends, actually helped me better understand who was who, the whys, as well as the often distant demeanor that the film encompasses throughout its running time. So yes. Stating here and now, that I actually admire the film now for what it's attempting to do, and often succeeds at; presenting us with a vision of post-modern romance with 1980s europhila, coupled with an often cutting deconstruction of the spy film genre.

It's a film that is equally in love with a generation's pop art vision of latter Cold War intrigue, but isn't willing to lean either way into its politics. In fact, the film is openly exploring just how broken and desolate the lives of spies can really be, even as the world suggests that their larger goals are beginning to shift. History is in the making along the periphery of the narrative, as the Berlin Wall seems ever closer to falling in November 1989. And despite fiercely capable agent Lorraine Broughton (Charlize Theron)'s mission to recapture a watch containing a sensitive list of hidden agents(Yes, it's that cliche again.), machinations are at play beyond the fact that the KGB, is very much in the know of her presence in Berlin. And once she meets her local contact in David Percival(James McAvoy), it becomes quite evident that not only is she being treated like a hunted wolf, she's also bent on more than mere duty or revenge for the death of former colleague, and lover, James Gascoine. Her seemingly unflappable cold gaze, is betrayed by an often telling look, or slip of the tongue. Bathing in tubs filled with ice, enshrouded in an unearthly blue, Broughton is both searingly cold on the surface, but has a quiet simmer just brimming beneath the seemingly hard surface.

While the spy genre has indeed experienced attempts at deconstruction. One could argue that Daniel Craig's entire run as James Bond, has been a process of both deconstruction and apotheosis regarding our prolonged affection for both masculine ideals, coupled with an almost voyeuristic lust for the visage of the untethered spy. But what Atomic Blonde, posits, is that to be a successful spy, one must numb, no let's rephrase. We have to kill sentiment. Any semblance of humanity in order to get the job done. As displayed by endless baths in ice. Frigid looking hotel rooms. And an absolute use of humanness as little more than a mask to deceive and procure. Nothing less. The Spy world is cruel, paranoid, and unforgiving. Those without these qualities are little more than incidental. And those pretending to understand the spy game, can only eventually find themselves decomposing in some dank Berlin alleyway. 

This is further evidenced by Lorraine's encounters throughout the film, from her superiors back at MI6, her contacts, and even those she is tasked with helping along the way. Her demeanor is well-honed, reluctant as each new wrinkle is brought to her attention, and with a resolve that is both alluring, and clearly dangerous. But the real juice of this deceptively cold film, comes from the reality that her world is perpetually attempting to allow something her job simply has no room for warmth. Her survival, and success depends on that ever present danger for any person who lives like a human chess piece, our own need to be defined. We see it from the very start with her ice bath days after the action has already taken place. Despite her still being alive, there is a hint of loss. And it's in many ways one of the only time we get to see this outside of a bedside admission, and perhaps even waking from a dream. 

And this is where the film's biggest tell behind it's seemingly detached aura. Like many three strip Technicolor films of the past, Atomic Blonde's largest contribution beyond the screenplay, and eurowave of classic 80s radio hits, is it's color coding scheme. Something that should not only grant the film a singular look that almost apes the prints of one Patrick Nagel, but also gives away the film's biggest secret; Lorraine, in order to complete her mission- No. The only way she could become who she has to be, is to kill sentiment. Hence the ice bath. Her visage throughout the film is almost constantly in snow white combinations of clothing. Her colors most vibrant during her testimony with her superiors, and guest from the CIA. She is walking ice that requires a "recharge" every so often to keep matters sharp. So the key toward understanding her, and the film as a whole?

It's simple. 

Follow the Red.

Red, is the color of not only passion, but of truth. And in the film, red represents the vitality and inspiration often missing from her life. Which is why so much of Delphine LaSalle(Sofia Boutella)'s scenes are part, or wholly washed in red. These are the moments where we are allowed something of a more intimate side to Lorraine's inner self, desires, hopes, and ultimately reality. We even get a truly on the nose tell with her hotel room, awash in the expected cold hues, broken by a red door, with Delphine knocking behind it. There's another life hoping to come in, but for the sake of the larger mission, it's merely a distraction. This takes on an even crueler thematic dimension when one considers the characters who die throughout. It's no accident that red plays a part in the film's more climactic moments. Sentiment simply has no place in Lorraine's world. There is nothing but the mission. Even as Berlin is united, trust remains an almost impossible dream for many, especially those in the spy business. And this includes those who have tried their hand at it, not aware of the cost to one's soul. The color scheme, and the story seek to convey a terrible reality behind those who would live a litany of deception in the name of national security. Not everyone can be one. And those that adhere to the fantasy remain merely that, on the sidelines, bit players, or as random casualties in an endless war of shadows. Characters die, because they aren't a part of the fabric of the game beyond either a tool, or a clay pigeon. And in this film, love dies, identity dies, conscience dies, because this world is a spiritual vacuum from which passion is never allowed space to breathe.

This is further explored with the story of Percival, who's motivations become increasingly blurred, ostensibly dooming him to become a permanent totem of a Berlin now on the way out.

Deception to others. To comrades. To the self. It's a way of life.

In the world of this film, it's a warning to all of what processes led to the world we currently share. Not the most charming or warm message to impart.

So the film does run into problems by working not unlike a clinical examination. Warmth, is a luxury that the film, and its characters in no way are granted, save for another vodka, or a late night, half drunken tryst. It functions like a teenage daydream of a music video cum video game piece of art house without a human anchor to hold it down. And this is pretty much intentional. As to whether or not this was a good idea will remain in the eye of the beholder.For better or worse, Atomic Blonde, is a vision of human betrayal as daily reality, and that isn't something everyone is very willing to accept.  

John Wick: Chapter 2 (2017) Film Thoughts

Do we even need a John Wick 2?

A most unnecessary of questions. It is no stretch to say that no sequel can ever truly be considered as such. By their very fiscal nature, the exploitation of brand has long become the prime practice for studios, and with bringing back 2014's action dark horse, the one question that rang most loudly for me was, "What else could there possibly be left to say?" Well masterminds Derek Kolstad, Leitch and Stehalski, have found an intriguing answer in what is easily one of the bolder, more rough-and-tumble follow-ups in recent memory. With Chapter 2, Keanu reaches deep into his cinematic past & present, coming out light years beyond fellow contestants for aging badasses on film.  

Opening shortly after the events of Chapter One, Wick is still roaring on a warpath for his stolen vehicle after avenging the death of Daisy the dog. Read that again, those unfamiliar with the first film's occasionally misunderstood inciting incident. Soon after dispensing the son of a fellow underworld kingpin for the canine murder, the second part of his mission against the underworld who stole his time to grieve the loss of his wife continues with a furious combination hand-to-hand-meets-car fight that must simply be seen to be believed (and heard). It is in the finale of this battle, that it is again made abundantly clear that the car itself wasn't the core focus of his fury, but rather the gravitational pull his life as a legendary hitman has prevented him from any semblance of peace. Retirement has found itself to be in utter ruins with the losses in such succession. And the quiet aftermath is broken almost immediately with the introduction of the one most responsible for his four years away from "that life",  Santino D'Antonio (Riccardo Scamarcio) once made a "mark" with Wick, binding him for a favor in exchange for freedom. And as the embers of his renewed action have only begun to cool, D'Antonio comes to Wick to pay the check by asking him to assassinate his sister, who is to be granted high ranking powers in Rome. With peace seemingly achieved at last, Wick refuses. And in doing so, invites near total destruction.

Trapped between his will to be done with both dealing death, and the ties that bind the clandestine society that seems to own him body and soul take center stage. The canvas broadens when Wick travels to Rome, encouraged to follow these detailed and arch rules in hopes of finally being released. Naturally, the rules are far from enough as matters begin to complicate, leaving Wick with virtually nowhere to hide. Much like what Viggo promised in the original film, "we are cursed", Wick must delve deeper into the world that embraced him, face his greatest gift/curse, and come out of hell alive. But not without some incredible handiwork and hardware. The life of a titan was never a guarantee of salvation.

From frame one, we are re-introduced to the world of the character as this paean to action cinema of generations past. We even see projected upon a building wall, a silent film featuring an incredible stunt. Pretty telling about what we're about to witness. A celebration of unfiltered kinetics, coupled with galling daring. Whether it be with vehicles as swinging lefts and rights against human bodies, or complicated judo and jiu-jitsu moves ending in scary precise headshots, the love and care for real on-set stuntwork is at the forefront. Stahelsky and Leitch, being stunt doubles and second unit directors over the years has culminated in the Wick world, creating a netherworld of pure danger with pure physicality. Somehow, they have merged their passions with a longing for the modern and ancient. Art museums, ornate light displays, and ancient statues of mythological beings watching over the proceedings as if this were a rock performance of Dante's Inferno. John Wick's world is a slick, yet hard boiled universe all its own, juxtaposed with our daily goings on just feet away from the absurd bloodshed. It's a paradox that perhaps even The Matrix so badly wanted to evoke. That's right. I'm saying it. John Wick Chapter 2, is what I wanted Matrix Reloaded to be. Unerring in its adoring its influences, while creating a concrete visual language that tells more about a character than any dialogue could deliver. Bursting at the edges with stunning action sequences coupled with dazzlingly surreal imagery.

Which isn't to say that there aren't great exchanges. With writer Kolstad back in the game, the enigmatic rules of the previous film have only expanded toward the sheer scope of Wick's underworld, the Continental, and its well-dressed creatures, all looking toward keeping up decorum. Everyone Wick encounters know the score of the game they're playing, all wondering where their part in all of this is going to land. As inertia begins to center around the legendary killer's return, D'Antonio is eager to close the loop he has started by forcing Wick into this situation. And in doing so, it's more than this shadowy syndicate of criminality that stands to change, but Wick's home of New York City as well. Ian McShane, John Leguizamo, and Lance Reddick return to provide welcome familiarity, as well as some new dimension to a world that is ready for upending. New faces include Claudia Gerrini, Common, and Lawrence Fishburne, that further open up the mythology to surprisingly funny and effective places. This syndicate is global, resembling a journey between not only nations, but realms of belief from the ancient to the personal. Make no mistake, John Wick transcends heaven and hell with every person he meets through this installment. Not only are we voyaging through the Point Blanks, and Le Samourais of the cinema pantheon, but of centuries of belief.

From vicious close quarters combat ending in a quiet shared drink, to honoring debts with calculated violence, we again see the seams beginning to rip between generations to high tables of influence. Keanu Reeves, again granting Wick a tired, weary but undeterred gravity that works as well between shared glances, and body shots. His entire physicality is on hand for Chapter 2, and in ways that defy description for a star of his caliber. The dedication alone for this character remains a singular feat as he is seen driving, shooting, grappling, and ultimately ever lurching forward toward destiny. Ever the bad ass, but not the kind of bad ass of the past that pushes ever on seemingly unscathed. The life of a creature this haunted, is the kind with so much cruelty and resolve that it becomes (as frightening as it may sound) hard not to identify. Being the Babayaga, is not for the faint of heart. 

 Which brings us back to the beginning. What is there left to be said with John Wick? Looking back at the first film now, and seeing how that surprisingly elegant piece of work was merely the beginning of the end of Wick's journey toward personal illumination. That the life of the baddest of the bad can not simply find solace playing by the rules set to him by deities beyond his reach. He is inextricably linked by the blood he has shed. And as such, can never be truly free from the demon that he so comfortably rested upon his shoulder for so many years. While he was indeed away for four years, they were always on borrowed time no matter how much he loved his late wife, Helen. And for him to ever be fully purged of this accursed shell, he may have to embrace the life of a mortal wholeheartedly. And to do that, John Wick's journey outside the realm of the gods, may just be one for the ages.