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|FSK:||From 16 years|
Berlin 1989: The fall of the Berlin Wall is imminent. The still divided capital is a powder keg in which the superpowers try to outdo each other with their espionage activities. After a MI6 agent was killed, British intelligence sends top agent Lorraine Broughton (Charlize Theron) to Germany to uncover the death of her colleague and secure an explosive list of identities of Western agents. But as soon as she arrives in Berlin, she herself is targeted by the killers. Together with Berlin-based David Percival (James McAvoy), Lorraine manages to escape the attack on her life and locate the mysterious Spyglass (Eddie Marsan) who is said to be in possession of the list. But this is only the beginning of an increasingly bloody web of conspiracy and betrayal, to which Lorraine is also supposed to fall victim…
On "Atomic Blonde" it becomes apparent once again that David Leitch, co-director of the surprise hit "John Wick", used to work as a stuntman in Hollywood for several years. The action scenes of his new movie are again an absolute highlight and especially the fight scenes seem to be brutal and real - in the age of CGI this is really not a matter of course. With Charlize Theron Leitch has found a really good leading actress, who has not only implemented the action in an absolutely convincing way. Immersed in a dark 80s look and accompanied by a great soundtrack, the ex-stuntman impressively shows that handmade action is still the measure of all things.
However, his spy thriller also makes it clear that action isn't everything. And when it comes to gripping dramaturgy or the construction of cleverly connected conspiracies, the filmmaker still reveals some weaknesses. Despite outstanding actors and an enormously cool look, "Atomic Blonde" also has astonishingly many lengths. They are made up for by the last act, which offers really brilliant stunts. But one would have wished that it wouldn't have taken so long for the story to really get going.
Given that when Lorraine delivers a tough duel in a moving car to the sounds of Peter Schilling's "Major Tom", then you're willing to put up with some tougher dialogue sequences for such scenes. Nevertheless, at the end there is still the feeling that the story pretends to be much more complex and intelligent than it is on closer inspection. And this finally leads to the conclusion that "Atomic Blonde" with a slightly better script would undoubtedly have had what it takes to become a cult movie of modern action cinema, but that it doesn't offer much more than "just" good entertainment with lots of show values. But that's still enough for an absolutely satisfied one: Worth seeing!
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