The Man from U.N.C.L.E.

Say what you will about director Guy Ritchie, but he rarely phones it in.  Even The Gentlemen, his umpteenth take on smart mouth British gangsters, was a fun feature film diversion that turned into a killer Netflix series.  He’s also a reliable Hollywood jack-of-all trades who turns in stylish updates on classics like Sherlock Holmes, King Arthur and even Disney’s Aladdin.  The man really gets around.  So, it’s easy to see how The Man from U.N.C.L.E. (2015) got lost in the shuffle of his various projects.  Besides being based on a relatively obscure piece of IP, Ritchie has a tough time putting his signature on this cold war spy scenario beyond its thrilling opening action sequence.

Art thief turned CIA operative Napoleon Solo (Henry Cavill) gets paired up with a KGB agent, Illya (Armie Hammer), to assist in recovering a German scientist kidnapped by multinational terrorists and put to work building nuclear warheads.  With the scientist’s daughter, Gaby (Alicia Vikander), along for the ride the trio must dodge enemy agents and their own government agendas to survive the mission and save the world.

 

For all the internecine plotting at work, The Man from U.N.C.L.E is a pretty predictable affair.  Ritchie jazzes things up with playful camera work and some clever split screens, but the second act sags despite his best effort.  The aforementioned opening chase scene is lively enough though, introducing the characters and spouting exposition in high style, making good use of the period setting with inventive stunt work.  U.N.C.L.E.never loses itself in showy CGI, determinedly hearkening back to the best of the ‘60s Bond era, complete with plentiful wisecrack and witticisms.

 

But it all seems a bit forced; and the lack of chemistry between the leads doesn’t help matters (Hammer’s cannibalistic fall from grace makes him even more of a distraction).  However, Elizabeth Debicki makes a worthwhile villain and Hugh Grant enhances the few scenes he’s in.  Ritchie seems to be pushing the story along by sheer force of will and some gorgeously retro cinematography.  While it failed to launch a new franchise, it’s a precocious time-waster that, if nothing else, is slickly entertaining in spurts. 

 

Arrow Video has put together a 4K Ultra-HD Blu-ray limited edition set that elevates the film in every way.  Ritchie’s films are always a treat to look at and the 4K really sets the mood with those signature inky blacks and a vibrant color palette.  Beyond the five archival extras from the previous release, Arrow has added two new interviews and featurettes focusing on Ritchie’s oeuvre and the legacy of the original ’60 TV show.  A poster, reversible sleeve and collector’s booklet and included as well.

 

 

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