Director: Luc Besson
Cast : Sasha Luss, Helen Mirren, Luke Evans, Cillian Murphy, Lera Abova, Eric Godon
Genre : Action/Thriller
Run Time : 1 h 59 mins
Opens : 20 June 2019
Rating : M18
Luc Besson has always been drawn to lead female characters who make quite the impact, from Mathilda to Joan of Arc and Leeloo to Lucy. Anna now enters the fray, attempting to prove she can take her place in the pantheon of women who have defined Besson’s films.
It is 1990 and Anna Poliatova has become a successful fashion model in Paris and Milan. Anna has a secret double life as an assassin working for the KGB. She reports to Olga (Helen Mirren), who sends her to eliminate whomever the Russian intelligence apparatus deems as a threat. Anna begins a relationship with fellow model Maud (Lera Abova), while having dalliances with Russian intelligence officer Alex Tchenkov (Luke Evans) and CIA agent Lenny Miller (Cillian Murphy). The game of international espionage is one with extremely high stakes, but it’s a game that Anna knows her way around.
Anna sees Besson revisiting old territory, in that the film is very much a re-tread of La Femme Nikita, with elements of The Professional incorporated into it. This movie is of a smaller scale than recent Besson projects like 2017’s Valerian and the City of a Thousand Planets – there are times when it feels more like something that was made by one of Besson’s stable of apprentices who have gone on to direct their own films, directors like Louis Leterrier, Olivier Megaton and Pierre Morel.
There is nothing wrong with Anna being lower-key than the average James Bond style-spy action movie, but the film is remarkably stupid while thinking it is quite clever. One’s enjoyment of Anna is very much contingent on the threshold of one’s suspension of disbelief. The film’s structure is deliberately annoying, flashing back to earlier points in the film and reframing the events to reveal a new twist multiple times. The spy games depicted in the film feel rudimentary rather than sophisticated, and the dialogue is often terrible. If Besson had gone just a bit further, Anna would’ve become a parody akin to the Austin Powers movies.
Besson is known as a director with an eye for detail, but the period setting of Anna never seems convincing. The film is largely set in 1990, and there are pagers and black-and-white surveillance monitors, but characters transfer data to and from laptops using USB sticks. One character leaves a message for another that looks like it’s been recorded with a remarkably high-resolution webcam. Although Besson’s regular cinematographer Thierry Arbogast ensures Anna never looks cheap, it just feels like something that Besson hasn’t put a lot of effort into at all. It’s also harder to watch a typically male gaze-heavy Besson movie given the recent allegations of sexual misconduct against him (allegations which he has categorically denied and which were dismissed by a Paris prosecutor).
Sasha Luss is a Russian supermodel who previously appeared as an alien princess in the afore-mentioned Valerian. She looks like a supermodel, but is devoid of charisma in a fascinating way, such that she almost seems like an inanimate object that the rest of the film is arranged around. Her line delivery is stilted and her performance in the action scenes makes it difficult to buy her as a highly trained secret agent. It’s still early days for Luss and it’s unfair to say she’ll never make a good leading lady, but especially given the mediocre material, she struggles to hold her own in a role that calls for a bona fide badass.
Luke Evans seems like a standard choice for one of Anna’s love interests, but casting Cillian Murphy as his opposite number seems baffling.
Murphy is known for indie projects and apart from the Christopher Nolan Batman movies, rarely appears in a mainstream action movie. The part doesn’t make full use of his mystique and seems like one that could’ve been given to any number of American actors.
Of all the supporting players, it’s Helen Mirren who knows what’s up. Her severe, curmudgeonly spymaster character seems to be modelled after characters from the earlier Bond movies like Rosa Klebb and Irma Bunt, forbidding and authoritative Russian intelligence officials with a nasty streak. The Oscar-winner has fun with what she knows is a silly role, chain-smoking and swearing angrily at video monitors.
Model Lera Abova lends a bit of brightness to the proceedings as the radiant Maud, but her character seems to exist solely for Anna to lie to, and so the camera can leer at Anna and Maud being intimate with each other.
Anna benefits from its supporting cast and the director’s experience making slick action movies, but it often feels like a throwaway direct-to-video movie one would catch a glimpse of on a hotel TV. The plot feels like someone half-remembered a season of Alias and tried to write it all down. It’s too ridiculous to be taken seriously as a thriller, but also not ridiculous enough to be an all-out, over the top parody.
RATING: 2 out of 5 Stars