Physically imposing Channing Tatum as Aaron politely asks Gina Carano as rogue agent Mallory to give herself up. She replies, “I don’t think so.”
Tatum throws hot coffee in Carano’s face, and then viciously slams her head into the counter. She weathers the beating and then picks her moment to unleash quick hooks. She manipulates Tatum to the ground and snaps his arm in a jujitsu lock. Carano is a fierce presence and a genuine force on screen. She is gorgeous—long black hair and ultra-fit body. The former MMA champion is imposing herself standing at 5’8″. But she is fighting ripped 6’1″ Tatum and Michael Fassbender. Carano is the real deal. Director Steven Soderbergh does justice to her fighting acumen. In “Haywire” you see full body fight choreography with speed, power, and precision—no quick cut edits with torso shots. Carano delivers a vicious front kick to Fassbender that sends him crashing through a door that you can almost feel.
So Soderbergh, known for “Ocean’s Eleven” movies and “Traffic”, is making an action movie? Curious, indeed. “Haywire” is at its best in accelerated mayhem and destruction. Lem Dobbs story seems almost an afterthought or excuse for Carano to just kick some ass—mostly a means to an end. Carano is a powerful physical presence. In Dobbs’s story, Carano plays Mallory Kane, who is black ops operative for a clandestine group that contracts to the Company, headed by slick sociopathic Ewan McGregor as Kenneth. Kenneth is Mallory’s former lover as well. Kenneth provides his manpower to Government Intelligence Head Coblenz played with menacing charm by Michael Douglas, who at times devours the scenery. Mallory along with Aaron run the hostage retrieval operation in Barcelona for the enigmatic Rodrigo played with passionate zeal by Antonio Banderas.
Kenneth subsequently sends Mallory on a mission to Dublin as “eye candy” with Paul, deadly and cool Michael Fassbender. Mallory discovers her betrayal–her cover is blown and forced to go rogue. When does an operative ever not go rogue in a movie? Dobbs’s story is formulaic, but then again it was never intended to be more. Of course, Mallory is determined to exact her revenge with extreme prejudice. Soderbergh infuses sufficient style and motors through the narrative—what little exists. “Haywire” is at its best when Mallory is beating the crap out of bad and good dudes. When it slows, it is not so compelling. Bill Paxton plays retired Marine Lt. Col. Kane, Mallory’s Dad. According to the story Mallory was also a Marine—in Special Forces? Here Dobbs’s narrative is dicey. He never hints at the source of Mallory’s elite killer skills. Are we to assume she is a prettier and leaner version of the Steven Seagal persona? However, here Soderbergh provides the dramatic arc for Mallory when she calmly warns Kenneth in her father’s presence, “You can tell me right now why you sold me out.” Or she will kill him.
Carano is charismatic. However, is she really a compelling actor? Hard to discern—in “Haywire” she plays sullen and singular in focus. Soderbergh wisely orchestrates and leverages Carano’s strengths. I think it would be interesting to see her in a more multi-dimensional role—she kind of hints at vulnerability here. She is solid in her part. She has an uncanny chemistry with Channing Tatum, who also has a distinct physical presence. His laid back charm compliments Carano’s intensity. Carano’s physicality also has a downside, particularly in this vengeance tale. She may be too overpowering for the logical narrative showdown. Still watching Carano springing off the wall and crashing with devastating hooks and kicks is awesome.
Too bad Soderbergh doesn’t give Carano much more to do than that. At least they both leave us wanting to see more.
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