The world of espionage thrives on dualities: the seen and unseen, the delicate and deadly, the glamorous and the treacherous. Luc Besson's "Anna" dives headlong into this dichotomy, delivering a tapestry of slick action dressed in haute couture. The titular character, Anna, played with an icy poise by Sasha Luss, struts and stabs her way through a narrative that seems as tailored as her runway outfits, but does the fusion of fashion and firepower hit the mark? At a score of 6/10, "Anna" offers up a mixed bag – adequately thrilling yet lacks the certain je ne sais quoi that defines the best in the spy genre.
Let's dissect the crux of "Anna's" appeal: the solid shootouts that pepper the storyline like bullets from the chamber. The action sequences are orchestrated with a visual flair that keeps eyes glued to the screen. A noteworthy mention is the kinetic choreography during the climactic restaurant scene, a ballet of bullets and bodies, underscoring Besson's aptitude for crafting shootouts that are both stylish and substantial. The spectacle is as sharp as Anna's cheekbones; however, what we witness in firearms finesse, the narrative sometimes lacks in depth and freshness.
Central to the film's allure is Anna herself, a character enigma wrapped in designer labels. Sasha Luss delivers a performance that is both enigmatic and physically commanding, maneuvering between her two lives with a poise that's as convincing on the catwalk as it is in a kill zone. Yet the movie often fumbles with its narrative threads, overstuffing the plot with twists and turns that can leave viewers more puzzled than intrigued.
The film's pulse is set against a backdrop that spans the chic streets of Paris to the grim alleys of Cold War-era Europe, crafting an atmosphere that is part espionage thriller, part fashion spectacle. Each set piece is crafted with detail, offering a smorgasbord of the extravagant and the ominous, which is both a feast for the eyes and a stage for the carnage that follows.
When it comes to emotional resonance, however, "Anna" maintains a stone-cold façade – a deliberate choice that skates over deeper character exploration. The supporting cast, including the likes of Helen Mirren and Luke Evans, brings gravitas to their roles, but the script offers them little room to fully develop their relationships with Anna, leaving a sense of untapped potential and emotional distance.
"Anna" does not redefine the genre, nor does it tarnish it; rather, it snugly fits within the middle ground. The film's narrative may at times seem like a convoluted puzzle with missing pieces, but the action remains its redeeming quality. Thrilling encounters and elegantly executed combat keep the film aloft, making it a worthwhile watch for those seeking beauty mingled with bullets, albeit without the narrative punch that elevates such movies from good to unforgettable.
How does "Anna" fare overall? The movie may not achieve the critical heights of Luc Besson's earlier masterworks, nor does it slump into the depths of narrative ineptitude. It is an action-packed ride that stumbles yet ultimately regains its footing, crossing the finish line with enough flair to be a solid if not exceptional, summer flick. As we walk away from the theater, we are much like the protagonist – a little dazed, somewhat impressed, but ready to move on to the next engagement. 6/10.
