Anna (2019)

Luc Besson directs Sasha Luss, Helen Mirren and Luke Evans in this Cold War thriller where a young Russian fashion model also works as a killer for the KGB.

Less convoluted than Atomic Blonde. Less kinky and shocking than Red Sparrow. Less stunt packed than The Villainess. Less chic than Nikita (the mammy to all these beautiful hit woman films). Anna works on a simple motor -it is not as star powered as its contemporaries, nor as gung-ho, yet it somehow hits the same spots just as satisfyingly. The biggest plus is it always manages to be one small twist ahead of it audience without losing them. So Besson probably can be forgiven for rehashing old ground when Valerian was such a dog’s dinner. He’s made exactly this film a couple of times now over his career yet you wouldn’t have shamed Hitch for making another Wrong Man chase or Argento for going giallo one last time. Less a creative retreat than a rousing rumble through a dated director’s comfort zone.

7

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