Directed by: Steven Soderbergh
Written by: Lem Dobbs
Starring: Gina Carano, Ewan McGregor, Michael Fassbender, Michael Douglas, Bill Paxton, Antonio Banderas, Channing Tatum, Michael Angarano
Haywire is a lot like last year’s Drive. What both lack in substance, they make up for in style. Likewise, both could be dismissed as pulp dreck if their respective directors hadn’t classed up the material. Haywire isn’t as riveting as last year’s sleeper hit, but the way Steven Soderbergh stages and choreographs the action elevates it from generic genre fare; especially apparent in contrast to its opening weekend competition: Underworld Awakening.
Punctuated by terse life-or-death scuffles between a badass black ops agent and her would-be assassins, it’s no wonder Soderbergh hired martial artist slash actress Gina Carano (not to be confused with Carla Gugino). Of her handful of big screen credits, Haywire is by far the biggest deal; her casting is a move reminiscent of another recent Soderbergh flick — The Girlfriend Experience, which marked the dramatic debut of porn star Sasha Grey.
Both actresses fit well in the roles Soderbergh picks for them, but I question how well either would come off when working with a director less versed in coaching non-actors. Perhaps the most impressive thing about Carano’s performance is that she holds her own in such formidable company: Ewan McGregor, Michael Fassbender, Michael Douglas, Bill Paxton, Antonio Banderas, etc. Channing Tatum. The list goes on.
Their collective effort is in large part what makes Haywire such a breezy watch. 93 minutes soaking wet, the film flashes backwards and forwards in its narrative to keep the momentum from faltering (and also, I reckon, to gussy up a simplistic espionage tale). The IMDB synopsis says it all: “A black ops super soldier seeks payback after she is betrayed during a mission.” The film’s final moment perfectly reflects the entirety: cheesy, cheeky, fun, and ultimately, forgettable.
Famous for his Hollywood haggling to get passion projects off the ground (“One for me, one for you”), Soderbergh is blurring the line between his studio pictures and personal films. With Haywire, the lack of marketing oomph and no-name lead suggest it might fall into the “One for me” category, especially after his crowd-pleasing Contagion. But if the audience I saw it with was any indication, Haywire is no less accessible.
Nor does it feel as obligatory as, say, an Oceans sequel. For the most part, Soderbergh brings his A-game, although I do take issue with the cheapo aesthetic. The harsh digital look he seems fond of works in low-key experiments like Bubble, but feels out of place in a fast-paced action flick. Dim, bland interiors with overblown light sources lend to the film’s overall disposable vibe.
But while it lasts, Haywire is an enjoyable January actioner. Though it pales in comparison to Nicolas Winding Refn’s excellent Drive, they have a lot in common: a bare bones story spearheaded by a brutal and ruthless protagonist, and a director who knows how to play them to maximum effect. Drive skews operatic while Haywire skews goofy, but both provide more compelling action sequences than any of last summer’s blockbusters, Contagion included.
Plus, this time of year empirically means slim pickings for the discerning cinephile. It’s either this or Underworld, folks. I’ll give you a minute to decide. — Colin