When a group of ex-Nazis create their own nuclear weapon, US and Soviet intelligence pair agents Napoleon Solo (Henry Cavill) and Ilya Kuri (Armie Hammer) are forced to work together to defeat the villains.
I first reviewed The Man from U.N.C.L.E. when it came out in 2015. After the last five years (and the 50 year stretch of 2020), it feels like a lifetime ago.
Released in the middle of 2015's big slate of spy film releases, at the time UNCLE felt like the runt of the litter - not as entertaining as M:I 5, not as funny as Spy, not as gonzo as Kingsman.
In the time since, I have watched it a couple of times and it just goes down so much easier. Shorn of the expectations of 2015, U.N.C.L.E. emerges as a breezy caper with a great sense of retro style and a pleasing restraint when it comes to its set pieces.
The opening sequence is still a highlight, efficiently establishing the contrasting MOs of our odd-couple heroes through a clever action sequence that shows off their respective strengths.
Armie Hammer gets the best storyline, as a damaged man attempting to reconnect with his humanity. I do not quite believe the chemistry with Alicia Vikander's Gaby Teller (the duo's unwilling accomplice), but Hammer adds an understated tenderness to the blunt instrument.
As the ice-cold villain, Elisabeth Debicki is fantastic. She is so good, I wished she had more screen time.
If there is one flaw, it remains Cavill as Solo. He tries his best, but Solo requires star power and charisma. There is a natural chill to Cavill that works against his portrayal of Superman, and plays well as the human cannonball in Mission: Impossible - Fallout. There is a Cary Grant quality to Solo - he is a scoundrel who is supposed to be so charming that he can win over people. Cavill has the looks but he never projects the kind of ladykiller charisma that the character demands.
While Cavill is underwhelming, it is a testament to the movie as a whole that it still works. What I find most interesting is the way it shies away from turning U.N.C.L.E. into a straight action picture. Instead the film plays more like a heist movie. And the action sequences it does have do not overtake the overall mood of the movie - the boat chase is largely offscreen, reduced to background action while Solo enjoys a reprieve with a sandwich and some wine. The movie is filled with moments like this, where the filmmakers dwell on the individual idiosyncrasies of the characters over generic action beats.
The other joy of the movie is the score by Daniel Pemberton. While it is not based around the familiar theme tune, he has created a score that perfectly syncs with the style and tone of the movie. Recalling the work of Lalo Schifrin and Ennio Morricone, it is a great mood setter.
Overall, The Man from U.N.C.L.E. is a fine caper movie. While it bombed on release, I have a feeling there is still life in this iteration of the property - I could see this re-emerging as a streaming series of 8 episodes. One can hope.
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