Starring Sasha Luss, Helen Mirren, Cillian Murphy, Luke Evans, and Lera Above. Written and directed by Luc Besson. Opens Friday at the most important theatres. 119 mins. 14A
Luc Besson shamelessly repeats himself with the girl assassin mystery Anna, having been down this avenue before with La Femme Nikita, Léon: The Professional, and Lucy.
The French writer/director/producer is aware of it, too, but originality is the least of Besson’s concerns. He’s licking his wounds after the sci-fi bomb that became Valerian and the City of a Thousand Planets in 2017 and the rape allegations, recently disregarded by way of a Paris prosecutor that he’s fought over the last yr.
Anna, not on time for a year by Besson’s prison woes, amounts to a professional resuscitation bid — one that might make paintings, way to entertaining hard work through Sasha Luss, the Russian twiglet grew to become an actress who enlivens the identity position of a deadly fashionista caught in a submit-Cold War spy game.
Anna Poliatova is a Moscow junkie residing with an abusive boyfriend (Alexander Petrov) and attempting to survive by selling Russian nesting dolls at an avenue marketplace stand. She’s spotted via a talent scout for a modeling company, who takes her to Paris and into the stressful global of international fashion.
For the primary 1/2-hour or so, Anna nearly looks like Besson’s documentary in the back of the scenes examining a version’s lifestyles, wherein the glamour certainly is the simplest skin deep.
Besson then begins teasing the viewer, alternating among flashbacks and rapid-forwards that slowly screen what’s really going on, like the toys-inside-toys of the dolls that Anna used to peddle.
Modeling proves to be a first-rate cowl for a glamorous murderer. She can shimmy her way to her prey, who’s then rapidly dispatched by using guns, knives, or whatever else is reachable — which include china plates and silverware, as in the main action scene set in a restaurant.
We meet Lenny Miller (Cillian Murphy), a pinnacle CIA agent first glimpsed in a violent prologue, set inside the Moscow of 1985, where the U.S. He is having an awful day at the hands of vengeful Russia. He is watchful and intent.
We additionally meet Alex Tchenkov (Luke Evans), a KGB agent who conscripts Anna as a secret agent for the Russians and who views her as greater than just a stone-bloodless killer in drop-lifeless attire — but then so does her modeling pal Maud (Lera Above), who has no idea approximately Anna’s actual occupation.
Alex works for a boss named Olga, performed through Helen Mirren, who’s one sharp shot of vodka. She was lighting fixtures her cigarettes with a grenade-fashioned lighter and tells a story of having as soon as walked for three days inside the woods with a wolf entice attached to her leg.
“Trouble never sends a warning,” she advises Anna.
Olga features as each a severe parent of risk and comedian alleviation. Mirren sheathes her character’s intentions in the back of a granite visage that shows what Fran Lebowitz might look like as a Bond villain.
Dark humor ripples thru Besson’s jigsaw screenplay. Spy fanatics will be amused at one discussion approximately how excellent to cut off a hapless sufferer’s finger to avoid casting suspicion of CIA involvement.
Besson movies as in line with traditional with the trusty Thierry Arbogast at the lens and Éric Serra managing the ominously romantic score. The film constantly seems and sounds splendid, even as it defies all common sense.
And what do we make of Anna? Her allegiances are always doubtful, although her intentions are clean: she desires her freedom from whoever will provide it to her, irrespective of what it expenses to get it.
Luss convincingly channels that brutal dedication. All the years of being within the cutthroat global of real-life modeling have served her well.