The slick Cold War-era spy throwback “The Man from U.N.C.L.E.” (based on the 1960s TV show) reinvigorates Richie’s career. He still directs with his trademark kinetic style and sense of cool, but this time, action and coolness take a backseat to character. The movie is still very cool, but that style wouldn’t matter much if the central spy duo (played by Henry Cavill and Armie Hammer) weren’t strong.
With perfect skin, neatly combed hair and a rich, soothing voice, Cavill plays ultra-suave American spy Solo. Cavill’s performance is basically the polar opposite of his brooding self-serious turn in “Man of Steel.” Cavill displays near-perfect comedic timing and exudes charisma in every scene. Solo handles just about every situation with wit and grace, practically strutting from one scene to the next.
Meanwhile, Hammer, sporting a thick Russian accent, plays the intense Soviet spy Illya. He’s an intimating presence, though Hammer also gets to be playful and charming. Hammer hasn’t done much of note since his duel performance as the Winklevoss twins in “The Social Network.” Here, he gives his first accomplished leading performance.
Together, Cavill and Hammer are immaculate, playing off each other wonderfully and giving the movie balance. Richie keeps the focus of the picture on their turbulent, banter-y dynamic. As enemy spies being forced to work together, Solo and Illya are constantly trying to one up each other. At the same time, through their begrudging rivalry, we begin see a common understanding between them that makes Solo and Illya into an effective team. The nationalistic tension still exists, but there’s a mutual respect.
Perhaps the most surprising thing about “U.N.C.L.E.” is how little action there is. Both “Sherlock Holmes” features were full of relentless, nonstop action; in “U.N.C.L.E.” the action is used sparingly and effectively. There are only about five or six major action set pieces that are well-spaced throughout the movie’s 116-minute running time, and they play second fiddle to the Hammer/Cavill relationship, instead of being the focal point.
On top of that, Richie finds new and clever ways to capture the action. He makes a standard action scene feel new and makes good use of the tacky split-screen device.
Also worth singling out is the lively and diverse soundtrack. In addition to using existing songs from the time period, Daniel Pemberton’s original score pays homage to the old-school orchestral spy scores by Jerry Goldsmith and Lalo Schifrin, as well as other from cinematic legends like Ennio Morricone. The score is a crucial component, enhancing the action and strengthening the film’s fun, chic 1960s atmosphere.
The actual plot of “U.N.C.L.E.” involving Nazis, nuclear warheads and the retrieval of yet another flash disk, is slight, but the movie is light on its feet and the attention to character is so strong that it doesn’t matter much.
The only major flaw in Richie’s movie is that Alicia Vikander, as German mechanic and fellow spy Gabby, is underused. Vikander is another rising star who has been on a roll this year (in movies as diverse as “Ex Machina” and “The Testament of Youth”). While Gaby certainly isn’t weak, she’s forced to be a third wheel to Solo and Illya.
Even so, “The Man From “U.N.C.L.E.” is smart, funny, stylish, character-driven picture, with just enough action to keep things from feeling repetitive or draining. It’s Richie’s best film since “Snatch,” and it showcases the immense talents of three up-and-comers.
(Rated PG-13 for action violence, some suggestive content and partial nudity.)