Red Sparrow

The American take on the Russian state apparatus is compelling, delivered with respect, and most fans of gritty spy movies will find it to their liking. The secret services in Russia are portrayed as a power-hungry, hard and uncompromising hierarchy of alpha males and females, both decision-makers and enforcers; like a creeping silent force, insidious and yet mesmerizing. This is exactly what the agent, played by Jennifer Lawrence, tries to portray very ably. Another one of her bolder roles in a minimalist and quite raw film with a solid plot, a great modern "cold war" atmosphere and a couple of scenes of explicit violence. Only the hint of romance is a bit too much, but if you take it all as part of the plan, you can turn a blind eye to it. Matthias Schoenaerts is superb as always and Charlotte Rampling is to die for as a demonic teacher. (04/03/2018)

Dominika, a former ballerina, has been trained in a spy school and has become a professional seductress. Now she is tasked with getting close to an American agent and discovering who in Russian intelligence is passing him information. But her mission is complicated by her superiors and perhaps her true feelings. Red Sparrow is a rather intimate spy thriller, and a bit too long. It tries to be sexy and provocative, most of the time it’s uncomfortably aloof, cold, and unnecessarily plodding. And not very entertaining. (27/07/2018)

I get it, Jennifer Lawrence was meant to play a completely merciless and emotionless murderer. It’s a shame she is like that in most of her movies. Another issue I saw in the fact that it is an espionage thriller, but at the end I was thoroughly confused about what happened. For an espionage thriller there was extremely little suspense and action, so during those two and a half hours I almost wondered whether to cook dinner or start dusting. Luckily it was saved by the great beauty of Jennifer, and her two acting colleagues – Joel Edgerton and Matthias Schoenaerts. I respect them so I finished to movie to the end and I admit that it is at least average. (15/07/2018)

A top-rate psychological spy thriller. Although it doesn’t go very deep in its portrayal of the relationship between the two lead characters and escalates rather inconspicuously, it’s very unpredictable in the way it continuously taps on motifs that are smartly exploited without disrupting the coherence of its world and its deliberate detachment and mistrust. The runtime is not a problem, Lawrence ingeniously and effectively overlays condensed events with cross-cuts (the opening sequence is one of the year’s best) or overlapping multiple timelines (characters discuss a plan while the viewer is already watching its execution). Also, the film is a patch for the still absent psychologisation through sexual tension, which is sometimes treated rudely and violently (the conditions in the training facility can not be believed), but also sensitively and systematically when it comes to the development of the protagonist (and dramatizes the relationship between the main couple). Although I was a little disappointed by the twist regarding the identity of the western mole, which stinks of fairytale, the climax was nonetheless good and surprising. Another thing worth praise is the sophisticated audiovisual aspect, it might be par for the course, but there haven’t been many better looking movies in the cinema this year. 80% (03/02/2019)

A spy thriller with a pleasantly old-school edit, in which it's not about action, but rather suspense, and who, whom, why and how it ends up transferring. I liked it, and both Jennifer Lawrence and Joel Edgerton in particular were great. But I especially have to highlight the James Newton Howard soundtrack - he was heavily inspired by Tchaikovsky and if his overture was played in a classical Russian music concert, probably few would think that it doesn't belong there. (24/03/2019)