Haywire
Haywire is missing something. It has a great cast, especially formidable newcomer (and former American Gladiator/current female MMA fighter) Gina Carano. It has a terrific director in cinematic chameleon Steven Soderbergh and enough traditional fight scenes to tantalize even the most shaky-cam weary action aficionado. So what, exactly, does this smart, traditional thriller lack? Energy. Or perhaps a better way to put it is internal drive. Whenever Ms. Carano and the company engage in hand to hand combat, the film flies off the screen. We are drawn into their world and never want to leave. The minute the wounds start to heal and the blood congeals, however, everything dries up and stagnates...including our attention span.
It's just too bad then that this origin story (set up to allow for at least two sequels) is so dull. We learn very little about Mallory as a person, enjoy the brief bits with her dad, and can't quite fathom how she wound up with a weasel like Kenneth in the first place (McGregor is great in his insane asylum resident haircut). There is a death scene which is supposed to strike an emotional chord - and doesn't - as well as a payoff that earns more satisfaction from the swear word uttered than the implications to the plot. Throughout, Soderbergh keeps our interest, if not our investment. By the middle, we just want more Carano vs. cast beat downs.
Toward the end, we are glad to get out of this inert narrative.
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