Reżyseria:
Luc BessonScenariusz:
Luc BessonZdjęcia:
Thierry ArbogastMuzyka:
Eric SerraObsada:
Sasha Luss, Helen Mirren, Luke Evans, Cillian Murphy, Lera Abova, Aleksandr Petrov, Никита Павленко, Anna Krippa, Aleksey Maslodudov, Eric Godon (więcej)VOD (2)
Opisy(1)
Odkryta przez paryskiego łowcę talentów piękna Anna Poliatova błyskawicznie pnie się po szczeblach drabiny sukcesu trafiając do ekskluzywnego kręgu supermodelek. To jednak tylko etap na drodze do prawdziwego celu. Urodą i wdziękiem posługuje się jak niebezpieczną bronią. Ulegają jej najpotężniejsi mężczyźni i najpiękniejsze kobiety. Zna tajemnice o jakich nie śniło się zwyczajnym śmiertelnikom. Uwikłana w walkę dwóch największych światowych potęg wywiadowczych, Anna zdaje sobie sprawę, że dla swoich mocodawców warta jest tyle, ile skrywane przez nią sekrety. Dzięki nim, gdy przyjdzie czas, będzie musiała zmienić zasady gry, w której stawką okaże się jej życie. (Monolith)
(więcej)Materiały wideo (6)
Recenzje (10)
An action B-movie about a KGB assassin who must unleash a secret service war to win her freedom. And the whole thing is unfortunately mediocre fun at best. Two good action scenes and a seductive Sasha Luss in the lead role can't hide the fact that it's all surprisingly stupid and ultimately not very entertaining.
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Anna is the best European mainstream spy flick since Skyfall. It is stylishly filmed, with a constantly surprising screenplay focusing not only on the action, but also on the characters. It is also well cast and wonderfully balanced politically (CIA vs. KGB). The choreography of the fight scenes, chases and shootouts is precise. Sexually passionate (Anna with men), emotionally tender (Anna with her lesbian girlfriend), seductively promiscuous through and through and as relationally treacherous as the whole dark world of secret agents. As far as spy thrillers go, I maximally enjoyed everything about this film, plus it surprised me with its clever humor and original interpretation of traditional genre motifs. Besson has a peace-loving European heart and is still a great filmmaker!
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Luc Besson serves up a great spy action thriller with a sex appeal-laden Sasha Luss. It's exactly the kind of gritty action flick that has been missing from cinemas for the last few years. The main character is having a hard time in life, in fact she's almost broke until she gets the opportunity to become a KGB government assassin with no competition. Cillian Murphy as the CIA chief and Luke Evans from the KGB are also great. The frequent time jumping is slightly confusing at first, but it gets proper meaning as the film progresses and there are surprisingly enough unexpected twists. There could have been more action, but when it comes down to it, you'll be sweating pretty hard. The five-minute restaurant scene in one take rivals John Wick, and cutting guys with a torn plate instead of a knife is an awesome idea! There are more than enough headshots and dead bodies. I had fun, just what I needed at the movies this summer. 80%
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If Anna had been the work of some newcomer, there would have been great admiration for the cleverly written screenplay and solid directing. But for Luc Besson, it’s not all that astounding. The film rather looks like one of his genre flicks, which he had previously passed on to his younger collaborators. Perhaps it should have been handed off before his EuropaCorp was impacted by debts and Besson and his colleagues were forced to lay people off and sell the company’s subsidiaries. In the context of that part of Besson’s filmography, where he figures in as the creator of the theme, co-author of the screenplay and producer, Anna deservedly ranks highly as a precision-crafted variation on the masterwork Nikita, updated to a glossily more superficial form and made special by it outstanding screenplay, which after a certain amount of runtime always rotates the field of view, thus transforming the viewers’ perspective not only on events that they saw a moment ago, but also on the titular heroine. From an originally apathetic object, she first becomes a clever tool and then, after a few turns, she appears as a sophisticated manipulator and, primarily, a chess genius making plans numerous steps ahead of the viewer and the other characters. In addition to that, we have action scenes that do not deny the inspiration of Atomic Blonde, and even though the ambitious and causally designed choreography cannot come close to that of Atomic Blonde, they still offer a refreshing hyperkinetic physical spectacle. But then one remembers that this is an original work by the same man who was once able to do much more enthralling things with the characters of women who find themselves in the unwanted position of action heroines. In Nikita, he showed the world of spies as a ruthless and sordid place where the heroine desperately faces helplessness and, like a predatory beast, has to fight not only for her life, but above all else for her sanity and whatever remains of her innocence. In Lucy, on the other hand, Besson released the whole genre from the shackles of unnecessary rationality and let his heroine transform the connective tissue of reality/film and, through this destruction of rules, create a cyberpunk innovation that showed us how unnecessarily limited films are when they sacrifice imagination at the expense of believability. Besson was a filmmaker who enchanted viewers, cooked up modern-day fairy tales and thrilling fantasies, sought out poetry in the grimy corners of everyday environments, opened our hearts to hired killers and extra-terrestrial beings, and invited us to new worlds beyond the boundaries of our own imagination. If the publicists’ predictions come to pass and EuropaCorp is hit with bankruptcy and Besson by numerous accusations, Anna may paradoxically be his last battle for viewers. Perhaps Besson is a relic of another time and can no longer easily find an audience that is sufficiently in tune with his vision. Perhaps for today's audience, Anna can be a welcome refreshment and a good genre treat. For witnesses whose love for cinema was at least in part inspired by Besson’s early films, however, it is rather a sad denouement.
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(więcej)
It's not overwrought, it's just completely stupid. Plus, I simply don't give a damn about these sharp girls with anorexic body constitutions that would make their arms heavy even with a toothpick in their palms, and yet they're getting it on with a plethora of jacked-up bodyguards. Besson is already a parody of himself, but Europa Corp. is giving him work, so why would he change it.
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