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Apart from a handful of cinematic tricks so seamlessly integrated most viewers won’t even notice them, the only truly noteworthy innovation in Ritchie’s “The Man From U. Far subtler than any of the egregious come-ons thrown around by Ian Fleming’s other spy (James Bond and Napoleon Solo both sprang from the 007 scribe’s imagination), such coded innuendo will likely escape the majority of audiences. Debonair and reckless as Solo, “Man of Steel” star Cavill comes across more British than American in his tailored-suit appearance and nimble Cary Grant demeanor — at least until Hugh Grant surfaces late in the film as his future boss, Waverly.By contrast, Hammer (“The Lone Ranger”) is all business as Illya, stone-faced and serious, his jaw set squarely and hair neatly combed, a nasty scar notched alongside his piercing eyes.
In fact, I’m sure there’s someone [from the studio] waiting just outside my house in case they overhear me say something. I think people everywhere know who Superman is and they can relate to Superman. E.,” a PG-13-rated loose-nukes caper whose target audience is too young to remember the classic spy show that inspired it — much less the once-frosty deadlock between American capitalism and Soviet communism that pits its distractingly handsome leading men against one another.Those seeking stylish spies will surely wait for “Spectre” or that promised “Kingsman” sequel instead. While these CIA and KGB poster boys never go so far as to lock lips onscreen (with one another or any of the plentiful female distractions thrown in their way), the duo spend most of the movie bickering back and forth like an old married couple, complete with playful nicknames for one another: “Cowboy” and “Red Peril.” At one point, confronted with a door with two locks in need of picking, they set aside their differences and swiftly identify their positions: “I take top,” Solo volunteers, forcing Illya to bend down and assume the bottom. Instead, the movie introduces Solo and Illya as hyper-competent professionals with equally matched skill sets but radically different temperaments.And yet, as in nearly every other film in the helmer’s oeuvre (save perhaps his unfortunate “Swept Away” remake), this is a testosterone party where cocky men with oversized egos wrestle to achieve a common goal — in this case, using Gaby to locate her rocket-scientist father, who is on the brink of delivering a nuclear warhead into the hands of a glamorous Italian dame (diamond-cool Elizabeth Debicki, looking like a lost Hilton sister) and a torture-savvy ex-Nazi (Sylvester Groth, loving every twisted minute). Ritchie and his team seem thrilled to be channeling the decade in question, relaxing into the cool rhythms of 1960s cinema, both studio and arthouse: The tone owes as much to Norman Jewison as Michelangelo Antonioni (while underscoring what meager substitutes its dapper leads make for man’s-man stars like Robert Vaughn and David Mc Callum).Cavill and Hammer have each toplined major tentpoles before, so it’s something of a mystery why neither makes much of an impression here, but there’s a curious vacuum at the center of “The Man From U. Though the effort will likely be lost on popcorn crowds, Ritchie and top-tier cinematographer John Mathieson deliver an all-around elegant package, taking care to compose each shot while forgoing the rough-and-tumble incoherence of most contempo action. Screenplay, Ritchie, Lionel Wigram; story, Jeff Kleeman, David Campbell Wilson, Ritchie, Wigram, based on the television series.His first TV role was in an episode of BBC show 'The Inspector Lynley Mysteries' and he later appeared in 'Midsomer Murders'.
He had supporting roles in 'I Capture the Castle' in 2003, 'Red Riding Hood' in 2004, 'Hellraiser: Hellworld' in 2005 and in 2006's 'Tristan & Isolde'.
Whatever tough-guy notion of 1960s masculinity Robert Vaughn and David Mc Callum once embodied as reluctantly paired Cold War rivals has clearly gone the way of the Berlin Wall in the otherwise retro-flavored “The Man from U. And though the pic is solidly made, its elegant vintage flavor simply doesn’t feel modern enough to cut through the tough summer competition. E.” update (co-written with “Sherlock Holmes” collaborator Lionel Wigram) is the barely hidden homoerotic subtext between its two model-gorgeous stars. Borrowing little more than character names and Jerry Goldsmith’s sleek musical theme from the original series, which ran from 1964-68 on NBC, Ritchie’s film is a surprising exception among so many recent classic-TV adaptations in that it doesn’t ironically parody its own source material (the way “Get Smart” and “21 Jump Street” did).
Starring Henry Cavill as American art thief Napoleon Solo and Armie Hammer as KGB operative Illya Kuryakin, Guy Ritchie’s latest feels more suave and restrained than his typically hyperkinetic fare, trading rough-and-tumble attitude for pretty-boy posturing. E.” unspools like a perfectly straight — and straightforward — homage to such late-’60s action movies as “The Thomas Crown Affair” and “The Italian Job,” complete with such stylistic flourishes as split-screen action sequences, a classy jazz score (featuring old-school instruments that composer Daniel Pemberton actually recorded at Abbey Road Studios) and an entire wardrobe of flashback-inducing mod fashions.
The lantern-jawed star of DC's new Superman franchise, Cavill proved his spy chops in 2015's The Man from U.
E What the rumour mill says: The man's got the right mix of suave and brawn to fill Daniel Craig's shoes - plus he screentested at the same time as the current Bond star.
He has had several near misses with big budget movies.