Director: David Leitch
Screenwriter: Kurt Johnstad
Cast: Charlize Theron, James McAvoy, John Goodman, Til Schweiger, Eddie Marsan, Sofia Boutella, Toby Jones
Distributor: Focus Features
Rated R | 115 Minutes
Release Date: July 28, 2017
Usually, when “atomic” is used as an adjective it means something that is propelled by atomic energy. Or if you prefer to use one of Urban Dictionary’s definitions, it’s a “devastating experience of epic proportions from which nothing is salvageable.” So when you have John Wick co-director David Leitch direct Charlize Theron in Atomic Blonde, an adaptation of the famed The Coldest City graphic novel, you’d expect something to leave an impact that is befitting its title. But Atomic Blonde is anything but atomic, at least from a narrative standpoint. It’s thin, has very few characters to care about, and casually shoehorns in 80s British pop songs. But if you are looking for a film with some great action and excellent framing, plus the occasional consumption of vodka, then Atomic Blonde is your kind of film.
A new clip has been released for Atomic Blonde, the upcoming action flick starring Charlize Theron. The movie is directed by David Leitch (John Wick, Deadpool 2) from a screenplay written by Kurt Johnstad (300), and also stars James McAvoy, John Goodman, Til Schweiger, Eddie Marsan, Sofia Boutella, and Toby Jones.
In the clip Theron’s character, Agent Lorraine Broughton, makes absolute fools out of a group of gentlemen through swift and efficient ass kicking, all set to the sounds of the late George Michael’s “Father Figure.”
You can read a synopsis and check out the clip below.
Universal has dropped the second trailer for Atomic Blonde starring Charlize Theron as Agent Lorraine Broughton, a spy who is a master in the craft of fighting, gun use, and sensuality.
Watching the newest trailer, you can’t help but feel that there’s a John Wick vibe that will pulsate during the course of the film. That’s because John Wick co-director David Leitch is behind the lens of this film. So you can expect to see plenty of stylized action scenes. Check out the latest trailer below.
Though the films may not take place in the same world, Atomic Blonde, starring Charlize Theron, definitely has the makings of a feminine John Wick. Considering that the film is helmed by John Wick co-director David Leitch, that’s no surprise. A new trailer for the film has been released, showing just how adept Theron’s spy character is at hand-to-hand combat, weapons, and one has to assume the honeypot. Check it out here below.
Inglourious Basterds Directed by Quentin Tarantino
Starring Brad Pitt, Christoph Waltz, Melanie Laurent, Diane Kruger, Daniel Bruhl, Eli Roth, Michael Fassbenderr, Til Schweiger, Samm Levine, B.J. Novak, Mike Myers
Release date: August 21, 2009
I did not discover Quentin Tarantino at the same time everyone else did, but by the time his 1997 crime drama Jackie Brown, an adaptation of Elmore Leonard’s novel Rum Punch, was released I knew who he was. I came by his movies on my own with my only knowledge of them being what I had read in magazines like Rolling Stone, Premiere, and Entertainment Weekly.
Pulp Fiction, his epic anthology of strangely believable adventures in the underworld, was the first. I rented that movie when it was first released on video but it took me all of the one-week rental period to watch it because I could not view it in the presence of my younger brother and sister. But as I watched Pulp Fiction, piece by piece every day before and after I went to school, I became captivated by what I was seeing and I began to understand why Quentin Tarantino was the talk of the town. Here was undoubtedly the most innovative and dynamic new filmmaker to emerge in a decade that had seen more than its fair share of cinematic underachievers and would see even more before the millennium came to a close. Tarantino’s films were heavily criticized for their violence but when weighed against the majority of the R-rated action fare that was coming out of Hollywood there was not much bloodshed at all. What gave the violence in Tarantino’s films its impact was its relative restraint. His films rely mostly on the integral developments of plot and character. When the violence does come, be it in a shocking gag (the accidental shooting of Marvin in Pulp Fiction) or an extended battle sequence (the House of Blue Leaves fight which takes up the majority of Kill Bill Volume 1‘s third act), it feels like a cathartic release of tension and energy. Tarantino’s own personal celluloid orgasm, if you will.