three and a half stars
Reviewed by Daniel E. Jennis
“Haywire” is another slick action film from Director Steven Soderbergh, the same guy who brought you “Ocean’s 11” and “Traffic.” “Haywire” is a very exciting film, benefiting immensely from complex fight choreography, subtle scoring, and daring camera work. But at the end of the day, this action vehicle is less of a film and more a series of awesome stunts, loosely interrelated by a plot that is ultimately too complex to follow in full.
Gina Carano stars as private agent Mallory Kane, a tough-as-nails mercenary on the run from her corrupt former employer and boyfriend Kenneth (Ewan McGregor). Carano is a former mixed martial arts champion who has begun to transition into film and television. While she has held smaller roles in the past, “Haywire” represents her first attempt at carrying a film.
In order to minimize the acting strain on the notably uncomfortable Carano, the movie is told largely through a series of flashbacks that are dominated by sparse and tense action sequences. We see Mallory Kane on the run from police and secret agents, we see bad guys covertly discussing their plans to frame the heroine in order to protect their business interests, and we witness Mallory telling her side of the story to Scott (Michael Angarano), an innocent bystander caught in the middle of the violence and chaos.
Overall, the film is sometimes sloppy, especially when you consider the minimal run time and the overstuffed plot. Screenwriter Lem Dobbs opts to forgo the traditional three-act structure, instead choosing to reveal details as needed. There is never much rising or falling action, as each sequence tells its own story, and every scene is carefully composed and overloaded with intense fighting.
Somehow the movie works, probably because the promise of rising action is held over our heads, like some tantalizing obstacle just out of reach. Everyone wants Mallory dead, and the dread and paranoia that she feels is largely transferred to the audience. Her quest for survival is so visceral and gritty that her toughness and resolve feel more painful than inspiring.
And there is something to be said for the understated action film that delivers a punch without too much dialogue or any explosions. Tight-knit corridors and silent battles stand in for typical cheap Hollywood tricks. And as each blow is landed, a feeling of adrenaline sets in that drives the thrill junkie from moment to moment. The film ends all too quickly, and while it’s easy to question the significance of such a rushed and bumpy ride, there is no way to deny the capacity for physical empathy that Soderbergh manages to evoke throughout the duration of the picture.