Shortly before the Berlin Wall came down, an MI6 agent was found shot dead. The real goal: a secret list that the victim is said to have carried with him and contains the names of all active agents within the Soviet Union. At the crime scene, however, there is no trace of the list, which is why MI6 high-ranking ( Toby Jones , James Faulkner ) and the CIA chief ( John Goodman ) instruct the spy Lorraine Broughton ( Charlize Theron ) to find the list and at the same time to eliminate the double agent Satchel . On the spot, she is immediately intercepted by KGB spies who work for the conflicted arms smuggler Aleksander Bremovych ( Roland Møller ). With the help of Agent David Percival (James McAvoy ), who is her contact person, manages to escape the assassination attempt. Between the German wall dust and a hail of Russian bullets, Lorraine dives into a merciless world behind the iron curtain, in which trust has become a rare commodity and betrayal is part of daily business.
Of course, Lorraine is not a complete beginner who has just made it out of the MI6 office high chair and into the public sector. She’s blonde, sexy, and damn good at what she does. In addition, she does not shy away from putting a bolt on the testosterone-plagued mouth of the male opponents – albeit sometimes with physical emphasis. So who would be better suited to the role of the English femme fatale than Charlize Theron? Whether as dogged ice queen Ravenna ( Snow White & The Huntsman ), powerful Imperator Furiosa ( Mad Max: Fury Road ) or cold-blooded serial killer Aileen ( Monster): Your varied character change spans decades of film history. The best prerequisites for the first solo project by David Leitch , who until now has only been allowed to direct scenes from John Wick , published in 2014, and who mainly acted as a stunt man, coordinator or second unit director. With the fan favorite Deadpool 2 , his second prank is already in the starting blocks for 2018.
If there is a lack of experience, one simply makes use of one’s strengths. Precision and craftsmanship oozes from every pore, especially during the fighting sequences and exchanges of fire – from which blood does not flow. Atomic Blonde is stylistically reoriented several times. Are you bombarded with a best-of from Neue Deutsche Welle in the opening scenes, with Nena and Falco echoing through the streets and discos along the Berlin Wall, it seems almost too quiet during later arguments. Then concrete rubble, flying bullets and bare fists push the door handle into each other’s hands in a deadly waltz until the last one lacks the necessary strength. Experimental, almost rebellious, David Leitch leaves the question of his personal fingerprint open until the end in Atomic Blonde. But that doesn’t seem to bother him – remarkable.
Unfortunately, that cannot be said of the actual story. Agents and spies, MI6, CIA, KGB, and of course the French shouldn’t be missing either; once you’ve worked your way through the names and concerns of the individual characters, they are no longer relevant. The undercover chaos is just as irritating as Til Schweigers Guest appearance as a watchmaker. The search for the double agent Satchel turns out to be a game of cat and mouse, in which everyone accuses each of them of treason. After the first half of the film at the latest, you have lost all ambitions to become master or woman of the actual plot. Instead, you let yourself be guided by the gripping action before moving on to the brilliant ending that tries to give the confusing story a successful twist – unfortunately unsuccessful.
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