Is That Rough Enough For You, Baby?by Jansen Musico Haywire (2012)D: Steven SoderberghS: Gina Carano, Ewan McGregor, Michael Fassbender, Channing Tatum Haywire is as straightforward as it gets. A covert operative gets double-crossed by her employers, forcing her to seek the truth and kick a lot of asses in the process. The film stars MMA fighter Gina Carano and is directed by Steven Soderbergh, an unlikely pairing that surprisingly came up with this pleasant little action flick. Carano plays Mallory Kane, the aforementioned agent, whose skills with guns and hand-to-hand combat put her male counterparts to shame. We get to meet her in medias res. She’s sitting in a diner in the middle of nowhere, sipping tea in a booth. An old friend (Channing Tatum) sits with her and engages her in a conversation before the two find themselves in the middle of a messy fastfood fist fight. She leaves him incapacitated before taking off. The story, however thin it is, also takes off from there. The film runs along the nonlinear route as its narrative criss-crosses timelines. Although distracting, it works to keep the action intact. It intersperses what could have been drab conversations with healthy servings of Carano doing what she does best: taking men down. Those included in her roster are her seedy employer (Ewan McGregor), a lethal assassin named Paul (Michael Fassbender), and a mysterious benefactor with distractingly grotesque facial fur (Antonio Banderas). In Kill Bill-eqsue fashion, she hunts them down as part of her personal vendetta. Haywire does not scrimp on the action, which is satisfying despite the apparent lack of fighting experience of the male leads. The sequences champion Carano’s natural abilities and are edited well enough to mask her limited acting range. And though her character has the potential to be an unscratchable femme fatale, the filmmakers are wise enough to shift gears and make her vulnerable. Her softer personal life, filled by her father (Bill Paxton), creates a fulcrum that grounds Mallory Kane to a semblance of relatable reality. Though Soderbergh’s attempt at a heroine-driven action flick isn’t strong enough to put Mallory Kane in the annals of badass film chicks, Haywire is still an enjoyable watch. As Mallory gets closer to fulfilling her ultimate goal, you kind of wish to see more.

Is That Rough Enough For You, Baby?
by Jansen Musico

Haywire (2012)
D: Steven Soderbergh
S: Gina Carano, Ewan McGregor, Michael Fassbender, Channing Tatum

Haywire is as straightforward as it gets. A covert operative gets double-crossed by her employers, forcing her to seek the truth and kick a lot of asses in the process. The film stars MMA fighter Gina Carano and is directed by Steven Soderbergh, an unlikely pairing that surprisingly came up with this pleasant little action flick.

Carano plays Mallory Kane, the aforementioned agent, whose skills with guns and hand-to-hand combat put her male counterparts to shame. We get to meet her in medias res. She’s sitting in a diner in the middle of nowhere, sipping tea in a booth. An old friend (Channing Tatum) sits with her and engages her in a conversation before the two find themselves in the middle of a messy fastfood fist fight. She leaves him incapacitated before taking off. The story, however thin it is, also takes off from there.

The film runs along the nonlinear route as its narrative criss-crosses timelines. Although distracting, it works to keep the action intact. It intersperses what could have been drab conversations with healthy servings of Carano doing what she does best: taking men down. Those included in her roster are her seedy employer (Ewan McGregor), a lethal assassin named Paul (Michael Fassbender), and a mysterious benefactor with distractingly grotesque facial fur (Antonio Banderas). In Kill Bill-eqsue fashion, she hunts them down as part of her personal vendetta.

Haywire does not scrimp on the action, which is satisfying despite the apparent lack of fighting experience of the male leads. The sequences champion Carano’s natural abilities and are edited well enough to mask her limited acting range. And though her character has the potential to be an unscratchable femme fatale, the filmmakers are wise enough to shift gears and make her vulnerable. Her softer personal life, filled by her father (Bill Paxton), creates a fulcrum that grounds Mallory Kane to a semblance of relatable reality.

Though Soderbergh’s attempt at a heroine-driven action flick isn’t strong enough to put Mallory Kane in the annals of badass film chicks, Haywire is still an enjoyable watch. As Mallory gets closer to fulfilling her ultimate goal, you kind of wish to see more.

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