Move: "The Man from U.N.C.L.E.' fails to break new ground"
The Man from U.N.C.L.E.' fails to break new ground BY BOBBY CERESIA | AUG. 26, 2015
“The Man from U.N.C.L.E” is a Cold War-era spy movie adapted from the 1960s television series of the same name. It stars Henry Cavill and Armie Hammer as rival spies forced to work together on a mission to prevent some generic evil people from starting a nuclear war. Cavill plays a deep-voiced, smooth-talking American spy hilariously named Napoleon Solo, who, as he puts it, “specializes in the art of complicated acquisitions” (i.e., he steals really well).
Hammer, in many ways, plays the yin to Cavill’s yang, portraying a ruthless but skilled KGB agent named Illya Kuryakin, a man whose troubled past often leads to violent outbursts. The two are sent on a mission to transport a criminally connected woman, played by Alicia Vikander from “Ex Machina,” across the Berlin Wall and around Europe to find her father, who is being forced to work on a nuclear bomb. Along the way are car chases, shootouts, bathroom brawls, double-crosses, island invasions and all the traditional spy tropes we’ve come to know and love.
To start with the positives, the score to this film was stellar. The opening is set to a period-appropriate jazz song, which helps to set the mood for the rest of the film. Snazzy flutes play absurdly quickly during chase scenes, imitating the sounds of frantic panting from the running spies. When Kuryakin’s finger starts tapping before his fits of rage, the percussion beats play to the same time and enhance the buildup. If nothing else, the soundtrack is worth a listen, even if the rest of the film doesn’t fit your style.