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Film review: Haywire

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2/5

HaywireIt’s got the big name actors, the big name director, the big fight scenes and it is promising to out Bourne ‘Bourne’. It has all of those things, but has neglected the idea of having a worthwhile plot.

Haywire is a shell of a film, with the outer facade of a fully-formed movie but with no solid centre. A little inquisitive tap of the outer layer and the whole thing comes crashing down.

For a film attempting to build itself on twists, turns and intrigue everything is so obvious throughout it offers little in the way of excitement. The actors play one-dimension apparitions of characters who develop little of their own persona, and act as little more than puppets to lead the way to the next action sequence.

The film has no human-side with any emotional elements coming across as forced and unbelievable.

Gina Carrano’s performance consists largely of vacant looks, countered by a single perplexed expression. The only variation comes with the addition of slight pain, a slight smile or a tear to the aforementioned expressions. Carrano would have been perfect for the lead-role in another Terminator movie but a thriller of this kind requires a little more depth.

Still Haywire is not all bad. It has some of the most intense and brilliantly choreographed fight scenes in modern cinema that for brief moments make the thing watchable.

David Holmes’ score adds 60s spy-thriller cool to the proceedings but becomes a little overbearing when at times it is more engaging than the visual action on screen.

The viewer is also treated to some stunning cinematography, but this, and all the films, other plus-points are simple polish to its outer layer and do nothing more than make this empty viewing experience more bearable.

Haywire shows that big name actors and a huge budget can never fill in for a decent script.

Haywire is a cinematic placebo. You can watch it, you might even think it was good, but in the end it will do nothing for you.

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