Posts Tagged ‘Hugh Grant’

I promise, the Top 10 is coming. Unfortunately, because I live in Salt Lake City, limited release films like The Revenant, Carol and Anomalisa are slow to trickle in, and it would be a dereliction of duties to crown the Best Films of The Year without having watched all of the major contenders.

That said, I *have* a Top 10 list, which could very well remain unchanged. And as is often the case, there were more great films this year than room at the inn.

Here at Wood’s Stock, we have a tradition of honoring an 11th best film of the year. This spot is traditionally reserved for a big-budget, major-studio-produced crowd pleaser that may not be up for any awards come February 28th, but was nonetheless a blast to watch.

This year, that film was…


The Man From U.N.C.L.E.

In 2006, the stewards of the James Bond franchise released Casino Royale, starring a then-relatively-unknown Daniel Craig as a scowling, brooding, and occasionally bruised and bleeding take on the legacy character. It represented a seismic creative shift for the franchise, adopting a darker and focused tone as an antidote to the excessive camp and frivolity that defined the tail end of the Pierce Brosnan era.

But imagine, if you will, a parallel universe in which the makers of the Bond films creatively cleansed the franchise of its failings while still committing to the grinning, innuendo-soaked playfulness that traditionally defined the character.

That movie would be The Man From U.N.C.L.E.

Set during the cold war, TMFUNCLE gives us con-man-turned-American-spy Napolean Solo (Henry Cavill) and Soviet agent Illya Kuryakin (Armie Hammer) reluctantly forced to work together for the greater good by their respective governments.

It’s an unmistakably retro film, filled with exotic locales, fancy cars, beautiful women and booze-swilling men who crack wise and skulls in equal measure. But it’s also a film that is astutely self-aware, filled with breezy double entendres and a jazzy beat that practically stares at the camera to ask “Hey, isn’t this fun?”

Directed by Guy Ritchie, who injected a similar old-meets-new flavor into his Sherlock Holmes films, UNCLE is unafraid of keeping things lights, humming along as though its amusing itself.

The ensemble pops, aided by the gorgeous and effervescent Alicia Vikander, who adds a crucial woman’s touch to the proceedings, going toe-to-toe with her male costars. And with the exception of an over-boiled finale, the action scenes and set pieces are stellar, tightly choreographed and edited to maximum effect by Ritchie (a standout scene involves a boat chase and a cargo truck).

UNCLE is in good company this year, fun-wise, with Rogue Nation, the latest of Ethan Hunt’s impossible missions, but because of the effort and risk it takes to launch a new franchise, the edge goes to the new kid on the block. Sadly, with only $45 million in domestic revenue, it’s doubtful (but not impossible) that we’ll see the next adventure of Solo and Kuryakin.


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