So, many people will probably tell you that this movie is a cross between Tinker, Tailor, Soldier, Spy and a female version of John Wick. I, for one, beg to differ. It’s a female version of John Wick crossed with Cold War-era The Usual Suspects… kind of. This neo-noir spy thriller from director/stuntman David Leitch first made waves at the South by Southwest film festival in March of 2017. After its wide release on July 28, it earned back over $45 million against a $30 million budget. The film was bought before its source material was even published and was meticulously put together over time. Based on the one-shot graphic novel The Coldest City by Anthony Johnston and Sam Hart, Atomic Blonde stars Charlize Theron as Lorraine Broughton, a top-level MI6 operative in 1989. After a fellow agent/lover is cold-heartedly killed, she is assigned to find the killer who has a list of many other double agents smuggled into the West. Now she is sent to Berlin on the eve of when the Berlin Wall was torn down and gets entangled in a web of lies, spies, assassins, and murder. If the plot sounds like any spy thriller that you’ve seen before… that’s because you’d be right. I’ve always been optimistic about international spy thrillers, being a fan of films like The Hunt for Red October, Clear and Present Danger, The Bourne Ultimatum, and the Mission Impossible and James Bond franchises. They often tend to be the same, but it’s typically both the style and the characters that keep them separated in my mind. Atomic Blonde definitely succeeds on a level of pure style, but its story and characters leave something to be desired. The style itself feels like a mixture of 80’s action with the slick production merits of modern filmmaking. The credits are shown through an old-fashioned computer screen and some of the graphics are shown through spray-poainting. Pretty much its own way of saying, “Look how different we’re trying to make this.” Most of the same technical crew behind the John Wick series are returning here and much of their talent is reused here to pretty good effect. Jonathan Sela’s cinematography uses many of the same color pallets and cues from before and uses them here. Seriously, this guy loves the contrast between blue and red, especially in the scenes of both Broughton’s apartment and various German clubs she attends. And yet again, it flows nicely with the editing job of Elísabet Ronaldsdóttir in many of the action scenes. The most talked-about sequence is a long and grueling fight in a hotel staircase. In a single 9-minute take, we follow Broughton from the top of the stairwell through two rooms, the lobby, a car, and the open streets of Berlin. It was a brutal and fast moment that kept me gripping my shirt (My seat was already gripped by someone else) and shocked at how they did it. Charlize Theron completely owns her role, officially cementing herself as one of the biggest female badasses of the decade. Although not as cool as Furiosa in Mad Max: Fury Road, her character is relatively interesting and keeps you guessing as to her true motive for everything. Apparently instrumental in getting this movie made, it’s also worth noting that she did all of her stunts and even chipped a tooth during filming. James MacAvoy is devilishly charming as her handler David Percival, a lustful con of a spy moving from West to East Berlin on a daily basis. His profane nature and mystery is a great departure from his role of Professor X in the new Xmen films. Sofia Boutella is becoming one of the fastest growing stars in Hollywood, and it’s clear to see why in her small but semi-essential role here. Her French accent and physique already make her attractive, but the way she delivers her lines is great. John Goodman, Toby Jones, James Faulkner, and Bill Skarsgard round the supporting cast, and some shine more than others. Another thing worth noting is that Leitch clearly knew what to do about the music for this film. Even though Tyler Bates provides the original score, it’s completely overshadowed by the soundtrack of 80’s songs. From George Michael to the synthesized years of Queen to even some David Bowie, it was said that the director had requested a certain list of songs be used in the film, and roughly 75% of his ideas made it through. The film opens with a relatively tense scene set the beat of HEALTH’s cover of “Blue Monday,” which worked to establish the tough but fun tone. What weighs the film down is the execution of the story. As I said earlier, its plot is pretty much a retread of other spy films, specifically Mission Impossible from 1996. That would be fine, if safe, but much of the story is unfolding through a flashback inside an interrogation as Broughton is explaining the previous 10 days to her superiors. At that point, it felt like it wanted to be like Bryan Singer’s The Usual Suspects, even throwing in a big whammy twist at the end for good measure. But the problem is that it twists itself into a messy bow and did it simply for the sake of providing a twist to keep people guessing. Say what you want about The Usual Suspects, at least it tried to satisfy us with a reveal that made sense and brought everything together. Oh yeah, and there’s a lesbian subplot. So? How did that help the movie overall? It didn’t make it any less tough to follow. Here, the story started out good but soon took a few too many turns for its own good. Atomic Blonde boasts some outstanding style and a badass hero but lacks much staying power. You’d probably be better renting this one. You don’t necessarily NEED to see this film, but if you do I’m sure you’ll have fun with it.