Review: HAYWIRE

Welcome to January, folks – the month when studios tend to dump their dogs into the theatres. If you are not looking to play catch up on the pre-Christmas derby of Oscar hopefuls working their way to a wider release or partaking of the blockbusters deemed too ‘holiday’ for the summer season, you may be on the prowl for one of those buried gems of quality nestled amongst the Hollywood trash heap. Steven Soderbergh makes a solid case for the no-nonsense action thriller, and a bid for a few of your shekels, with Haywire. The film does nothing particularly novel. Another expendable super-spy chase slash revenge picture of which there were at least three of last year – Colombiana, Hanna and Ghost Protocol – and features neither an extravagance for expensive set-pieces nor the over-inflated high stakes. But what then separates this from last year, or a multitude of straight-to-video Jason Statham vehicles is this classic Roger Ebert bon mot, “It’s not what you do but how you do it,” which certainly applies here; even something that feels like this particular filmmaker could do in his sleep has such a precise polish and rhythm that not a second of this film feels superfluous. There are enough little touches and intangables to forgive Haywire for having nothing whatsoever to say other than Soderbergh knows his craft. The film is a walkthrough of all the things that director favours and have been showcased in his prolific c.v. The film knows to be lean and mean and is completely unpretentious about its execution.

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