★★★ / ★★★★
Mallory Kane (Gina Carano) thought she was safe in a diner, at least for a while, until she looked outside and saw Aaron (Channing Tatum) approaching. He took a seat in front of her and commanded her to get inside the car. Mallory was not to be persuaded this way. After she mentioned Barcelona, Dublin, and the name Paul, Aaron realized he had no choice but to force her, through extreme violence, despite customers watching. We needn’t worry, though, because Mallory Kane was a former Marine. As a private contractor, she was more than capable of defending herself against colleagues about twice her size. “Haywire,” written by Lem Dobbs, had a simple plot yet quite labyrinthine at the same time because we were dropped in the middle of whatever was going on and we didn’t have a clear understanding of the characters’ motivations. Two-thirds of the picture focused on a flashback sequence involving two assignments in Barcelona and Dublin, respectively: the extraction of a kidnapped Chinese man (Anthony Brandon Wong), in which Mallory was the leader of the on-site operation, and Mallory serving as an escort of a British agent (Michael Fassbender). As pieces fell into place and the plot made more sense, the film was still able to keep a high level of excitement and mystery. Perhaps it was because the fight and flight scenes were equally compelling. Whenever Mallory faced an enemy and both had to inflict incredible amount of pain to each other, there was a lack of score. The sounds–heavy blows delivered to the body, furnitures cracking due to uneven distribution of forces, posh glass breaking–were magnified and they made the visual experience much more visceral. At one point, I found myself wanting to get up and engage in a one-sided fight against a punching bag. It was a great decision to allow the one-on-one matches to play out. Most of the time, Mallory’s enemies were experienced fighters so I found it believable that it would take time for one of them to make a critical error or reach exhaustion. The escape scenes were quite impressive, too. Mallory’s stint in attempting to evade a tracker in the streets of Dublin was almost suspenseful on a Hitchcockian level: a beautiful woman in a foreign country suspecting that a stranger was observing her from afar and following wherever she went. The chaos that Mallory experienced was complemented against the chaos happening under the jurisdiction of Coblenz (Michael Douglas), an influential United States official for various discrete operations. Kenneth (Ewan McGregor) and Rodrigo (Antonio Banderas) were the puppeteers of the game, the reason why Mallory seemed to have gone rogue. Directed by Steven Soderbergh, “Haywire” was at times weighed down by desultory technical artistry. Most of the scenes were in color but select scenes were in black and white. I found it inconsistent and I got the impression that the director was trying too hard. Nevertheless, the film was fun due to its energy and well-choreographed duels. It doesn’t require much brain power to sit there and watch it all unfold.