haywire ( film )
actor channing tatum’s 2011 action film “haywire” is in development as a small - screen series at relativity tv .
haywire official trailer # 2 - steven soderbergh. gina carano movie (2012) hd
sharp, uncomplicated, and thrilling,' haywire' packs its punches quite effectively .
actor channing tatum' s 2011 action film
haywire
is in development as a small - screen series at relativity tv .
haywire is always interesting, it just isn' t compelling and it needs to be .
steven soderbergh haywire is a knock - out action - girl romp, says robbie collin .
gina carano, a professional mixed martial arts fighter, stars in the movie
haywire .
gina carano in a scene from “haywire. ” ms. carano makes her film debut in this story about a professional black - ops agent .
looking for movie tickets? enter your location to see which movie theaters are playing haywire near you .
' haywire' looks really special but doesn' t live up. it' s merely decent .
avc: contagion seems like such a strange imax movie. it seems like haywire would be better suited .
“haywire” is rated r (under 17 requires accompanying parent or adult guardian). strong action and rough talk .
steven soderbergh’s full frontal now available on netflix watch instantly. soderbergh’s knockout, now titled haywire, gets early test screening
steven soderbergh continues his occasional practice of using actors as found objects in his perfectly enjoyable formula action - thriller haywire .
looking for movie tickets? enter your location to see which movie theaters are playing haywire (1980) near you .
' haywire' and' underworld: awakening' have women in leading roles, but not all such films avoid sexism .
gina carano stars as mallory kane in steven soderbergh' s action thriller haywire. photograph: allstar / relativity media / sportsphoto ltd
mma fighter gina carano is a smart fit as the rough - and - tumble star of the covert spy thriller' haywire.'
a film review on friday about “haywire, ” starring gina carano, misidentified her role on the television show “american gladiators. ” she was a member of the gladiator cast, not a contestant .
steven soderbergh' s full frontal now available on netflix watch instantly. soderbergh' s knockout, now titled haywire, gets early test screening
soderbergh, whose latest film the informant makes its premiere at the 2009 venice film festival, is repped by anonymous content’s michael sugar .
“haywire, ” a 2011 action movie starring channing tatum and gina carano, is in development as a small - screen series at relativity tv .
families can talk about haywire' s violence. how necessary was it to include dead bodies? could the story have worked without the killings ?
director steven soderbergh turns his hand to the action genre with haywire. how do he and mma star turned actress gina carano fare? here’s duncan’s review…
haywire and underworld: awakening are the latest in a growing field of action flicks starring women. but history has shown that not all such movies avoid sexism .
steven soderbergh’s haywire started its run in fifth place, pulling in $ 9 million. the film, which features former mma fighter gina carano, earned a dismal “d + ” cinemascore grade, despite strong critical reviews overall. (another well reviewed action film, drive, earned a similarly unenthusiastic “c - ” grade a few months back .) relativity shelled out $ 23 million on the film, but haywire will have to work hard to earn that number back at the box office. (also, let’s please ignore the inevitable discussion of whether women can open action movies at the box office and look at this week’s number one film. cool? )
chaudhuri, shohini (2006). feminist film theorists. london: routledge .
charles gant: war horse is top dog – j edgar, w. e. and coriolanus disappoint, haywire keeps it crazy at the multiplex and the artist grows in stealth
in other soderbergh related news, bloody elbow is reporting that not only has his next film, knockout, an action thriller starring mma champ gina carano, ewan mcgregor, michael douglas, michael fassbender and channing tatum, gotten a new name, haywire, but after a research screening, the film seems to be receiving rather good reviews .
and speaking of things i did love in the film, there is gina carano .
as with any great action movie, what we' re really here to see is the star showing off whatever skills got them on screen to begin with. and haywire never disappoints .
would soderbergh consider working on a haywire tv show? it wouldn’t be surprising if he became involved, and the same goes for the film’s leading lady carano. the girlfriend experience star sasha grey isn’t returning for the starz show, but i could see carano playing kane again .
though not among soderbergh' s best — those would be out of sight, traffic and king of the hill — haywire and its fight scenes jangle the nerves and do it with panache .
is built upon this. the only film of his to get any respect from critics is
film, after all. what makes this example notable is that its amazon rating is at
while it would be unfair to say that haywire was widely disliked by audiences across the country (cinemascore, much like nielsen ratings, can’t gauge everyone), is it another case of moviegoers feeling mislead à la drive, or was the film simply a letdown? the not - nearly - packed - for - a - friday - night crowd i watched haywire with in a theater in manhattan seemed to enjoy themselves plenty for 93 minutes of pure escapism, but perhaps we were the exception to the rule. i’m curious popwatchers, were you disappointed by haywire or does the grade from cinemascore not reflect the reaction you had to the movie? share in the comments section below .
haywire' s major theme is betrayal, followed by revenge. although this revenge includes violence, you could argue that it' s a way to set things right and to protect innocent people .
just as with many movies released recently, haywire does not live up to the hype. while there is violence, there is not grotesque or gruesome violence. think mo... continue reading
another stephen soderbergh film may make its way to the small - screen. the 2011 action movie haywire was a very modest box - office hit, and proved that mma fighter gina carano has real screen presence, given the right circumstances, of course. will she return to play mallory kane in the television series? little is known about the project at this point, but it’s an exciting prospect, to say the least. read more about the potential haywire show after the jump .
haywire was well - received by critics (80% on rotten tomatoes), who are usually familiar with steven soderbergh' s films, but hated by audiences (a d on cinemascore) who expected a more hollywood - style action film (the film was even promoted as being like the director' s ocean' s eleven). the same thing happened with the director' s contagion, which has an 84% on rotten tomatoes but a c on cinemascore (but at least was profitable with over $ 135 million worldwide, unlike haywire, which barely recouped its budget) .
fund, which has raised $ 5 million, was launched in the wake of the indie film biz bouncing back with structured financing available to invest into film and international buyers actively acquiring films .
box office: fourth' underworld' film is no. 1 on strong weekend [ updated ]
there has always been an eclectic nature to steven soderbergh’s career, so it should come as no surprise that he has made an action film. if anything it seems odd that it took him this long. he’s done plenty of crime films, which feature some action in them, but haywire is the first time that soderbergh has really tackled a film whose heart lies in the kicking and the punching .
calling attention to the heterogeneity of the film experience, altman offers a film - historical approach that removes the need to refer to the film as a single phenomenon. instead, we should embrace the multiplicity of spaces and versions of the cinema experience. to put this another way, altman worries that by homogenizing film as a singular, unchanging text we miss an opportunity to explore the diversity of spaces in which films are presented and the various “social contexts in which the film is seen. ” specifically, he is pointing to silent film exhibition where feature films were shown with differing musical accompaniment or different ticketing and seating policies, thereby contributing to an altogether different experience of the same film .
( where the film has a more reasonable 5. 9 score) denounced this as a case of
if you' re tired of the same old action movies with nauseating shaky - cam and even more nauseating editing, then you should give' haywire' a try. soderbergh has created quite the genre film here by staying away from all the clichés that come with action movies. he' s also taken an mma fighter and put her into a believable role. she isn' t a great actress, but this is the right role for her.' haywire' is hard not to love. it' s recommended on all fronts .
january seems to be an increasingly reliable time of year to find a great, if perhaps trashy, genre movie, so it was with great enthusiasm that i snatched up the chance to go to a screening of haywire .
the men of' haywire' (hd, 5 min .) – this is a promo reel of interviews featuring the famous male faces of the movie like fassbender, mcgregor, banderas, channing tatum, and michael douglas .
to help facilitate a broader discussion of this phenomenon, i believe we need to consider altman’s “cinema as event” thesis. even if we do not engage with the social dimensions of his platform, it is important to ask if a film text is a singular entity. we are conditioned to speak about films as singular texts. we tell our friends that we went to see this film or that film, not a version of that film .
let me in got rave reviews from film critics, but did so - so at the box office. some people believe that the low turnout was due to people who refused to go see it out of sheer bitter spite (or on simple principle) because it' s an american remake of a foreign film. but what really killed let me in was distributor relativity media (who acquired the film from starz due to buying the overture distribution outlet from them) giving the film the invisible advertising treatment. there were few trailers or tv spots released and the film wasn' t even listed on relativity' s website. not helping the film was that the company chose to open it the same day as the social network (a film relativity co - financed with sony) .
so when director steven soderbergh caught mixed martial arts fighter gina carano on tv by chance one night — and saw in her the sort of charisma and physical talent of a great action hero — the seed of haywire was planted just like that. this is a film built around its star, just as surely as any of its cheesier' 80s forebears .
it may seem like this is merely an exercise in style and to be honest, it is. soderbergh' s clearly fascinated by the physicality of carano as a fighter and haywire' s sole reason for existence is to highlight those skills .
avc: there are certain subtle gestures in that film, just involving things that are touched, and how a disease like this would spread, that are as far from an irwin allen film as you could get, though .
in this psychologically tense slice of hallucinogenic eco - horror, a land surveyor on a secretive mission in a remote and unnamed irish forest begins to have strange visions after his equipment goes haywire, leading him suspect that someone—or something—is lurking in the woods .
thr reports that into the blue director john stockwell is directing, the film and i hope that means one thing: someone gets their face blown off underwater. (don’t know what i’m talking about? find a clip of josh brolin’s wonderful final scene in into the blue .) the haywire stunt team 8711 is in talks to work on this one, too .
haywire (* * * out of four, rated r, opens friday nationwide) is a vigorous spy thriller that consistently beckons the viewer to catch up with its narrative twists and turns. bordering on convoluted, it works best when in combat mode .
in haywire, an electrifying tale of espionage and betrayal, a female covert ops specialist (carano), who works in the deadly world of international operatives, strikes back after discovering she’s been double - crossed by someone close to her in the agency .
one for the money. a whopping 2% on rotten tomatoes and bombed at the box office, but fans of the book series the film was based on generally enjoyed it and the film did considerably better once it reached home media .
avc: do you make a lot of decisions based on locale? this is a film that jet - sets from one place to another. how in a film like this one were you trying to evoke the cities you were in ?
so, the story goes that steven soderbergh hit on the idea for haywire while he was loafing in front of some saturday night telly. starting up on cbs was a female - only ultimate fighting gala. up stepped the formidable gina carano. it was, for soderbergh, love at first strike, but the question he asked was this: “how come angelina jolie’s the only woman allowed to run around with a gun and beat people up? ” haywire is his answer, and jolie better renew her gym membership .
in a sense, the film becomes a slave to technology when stylistic concerns are motivated by technical standards. strangely, a. o. scott in the times praises the cg work in this film as building on previous models of cinematic illusion :
it’s incredibly hard for me to actually decide where to stand on haywire. even as the credits were rolling and i was asked if i enjoyed the film, my response was, “i think so”. nothing in the film made me hate it, while the likes of tatum and paxton did help to elevate the slightly lifeless narrative. i can’t help but feel that it was one of the few soderbergh films that would have benefitted from a bigger budget, as there was no real spectacle outside of carano’s encounters .
the tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans. it represents the percentage of professional critic reviews that are positive for a given film or television show .
to this end, i support what rick altman has already called for in his “heterogeneous” approach to film study, whereby film is understood as a experience or event that is mediated by various factors. altman suggests that by “ostensibly analyzing the film, cinema critics have been at pains both to homogenize the lived experience of film - viewing and to avoid undermining that homogeneity. rather than recognize the legitimate existence of multiple versions of a film, based on diverse social and industrial needs (censorship, standardized length, colorization, foreign - language dubbing, etc .), critics have regularly made a fetish of locating the ‘original’ version. ”
this is a question plagued by many film scholars who give themselves the job of historicizing the technical and aesthetic qualities of cinema. to study early technicolor (as scott higgins has admirably done) or sound design in the 1970s requires a caveat: material conditions change. can we productively analyze technicolor stock qualities based on a remastered dvd of gone with the wind? how about the study of mise en scene using a full frame copy of blow out? if we tow the party line of film studies, then there is no real difference. a film is a film is a film. but we know better, don’t we ?
that is, i would like to consider how the visual effects technology of the film undermines the structural and emotional arc of the narrative. my comments are still fairly fresh since i have just seen the film and am responding rather quickly to something that will no doubt require a little more thought. for those who have yet to see the film, there are serious spoilers ahead .
this appears to be the working hypothesis behind “haywire, ” a cold and kinetic experiment in high - impact, low - concept genre filmmaking directed by steven soderbergh. starting with a brawl in a rural roadside diner, the film, written by lem dobbs, proceeds through a series of expertly choreographed, meticulously edited scuffles and chases, set pieces threaded around a plot that seems almost defiantly preposterous and uninteresting .
transformers age of extinction continued the tradition, also making over $ 1 billion worldwide (and actually becoming the highest - grossing film of its year, the second time a bay film accomplished this feat after armageddon) despite opening to near - universally negative reviews .
with inception, zimmer may have composed a thoroughly contemporary film score that rejects the “bullshit heroism” of an earlier era, but it would be a mistake to conflate the suitability of a particular approach to all film with its applicability to a composer’s particular working style .
in that early george clooney vehicle, everything felt fresh and exciting, with its perfect blend of stylistic visuals and soothing sounds, whereas in haywire it seems dated and massively inappropriate. when someone’s being chased down in the street, smooth retro jazz doesn’t really get the adrenaline pumping .
haywire is essentially a novelty, a great director trying his hand out something that might be considered outside of his wheelhouse. of course even as a novelty, haywire is better than most of the action films released in any given year. it’s incredibly entertaining, and the parade of cool actors adds a definite level of badass. what it really does, though, is show how good soderbergh’s instincts are: while gina carano may never be a truly great actor, she’s got remarkable screen presence and charisma. she’s got that ineffable something you see in movie stars .
relativity has made a few movies that could work on television, like battle los angeles or immortals. haywire is an interesting choice to start with, that is if they actually follow through on the show. to make it as fun as the movie, the series would need a style as dynamic as soderbergh’s. he’s currently busy on season two of the knick and executive - producing a tv adaptation of the girlfriend experience. regarding the latter, soderbergh said, “we didn’t want to just remake the film. we were intrigued with the idea of going to a new location with a new character on a new trajectory, ” and that approach would probably be best for the haywire project as well .
box office: fourth' underworld' film is no. 1 on strong weekend [ updated ] | company town | los angeles times
the realism in' haywire' is its crowning achievement. let' s forget about the tightly wound espionage plot simmering underneath, because we all know soderbergh will tie it all up at the end anyway. no, this movie isn' t about finding out anything. this movie is about watching carano in action, directed by a director who knows how to film that action and get the most out of it .
movie review -' haywire' - a star is born, fists flying the genre - hopping director takes on the action flick in a smart, forceful showcase for newcomer gina carano — whom critic ian buckwalter says is a magnetic marvel of a big - screen badass. (recommended )
haywire is more tense than it is exciting, or explosive, with some well employed moments of silence, especially when a violent outcome seems just around the corner. it’s a pity, then, that soderbergh decided to use david holmes’ music throughout, as it really does jar quite badly with the rest of the film’s content, especially when i loved the pairing of them in the excellent and effortlessly cool out of sight .
critics were mixed towards were the millers, some outright hating the film, but it was a financial success and scored better with audiences .
it would seem that in the weeks since i’ve seen the film, the dominant conversation has shifted away from knight ‘s technical and stylistic achievements to a more interpretive, if not totally reductive, schema that aims to set in relief the political overtones and undertones of nolan’s film .
i remember hearing about the film a dozen years ago when i was just getting acquainted with kubrick’s works. back then there was still hope that he might mount a return to the film, but that sadly never happened. there was also the aryan papers, which receives some attention in the archive. it’s rumored that kubrick abandoned the film in the early 90s after he learned that spielberg was producing his own holocaust drama .
in an arrangement very unique to the industry, soderbergh will forgo his upfront salary, and retain ownership of the film, along with rml .
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in' haywire' soderbergh uses all natural light and it' s evident from the very first scene as carano walks into a small diner. instead of the outside light being kept at bay, the light bleeds into the field of view creating a soft, hazy look. while this may crush detail and create extremely soft edges, this is the intended look of the film. as a result this digitally shot (soderbergh used red one cameras) there are many times in the film that detail takes a hit because of the invading natural light. that' s just the way it is .
it’s been a few weeks since my last post, which focused on the technical possibilities and implications of imax technology in christopher nolan’s the dark knight. since then i’ve read a number of reviews and appraisals of the film at various film blogs and news sites (many of which make up my links section), which tend to emphasize its direct and indirect allegorical and symbolic textures. most recently, ted pigeon over at the cinematic art has written a sharp piece of criticism that highlights the social and political tone not of nolan’s film but of these reviewers’ responses to the film .
as the dark knight continues to break box office records i thought it might be worthwhile to examine one of the key features of the film’s success: imax. the film’s imax treatment has been getting some press lately, but i’ve read nothing that really situates the technology (or the dark knight ‘s use of it) with the history of the format. christopher nolan’s second batman film is, indeed, a cinematic achievement for incorporating –for the first time in hollywood– the imax process into the visual structure of the film. of the many accolades the film will likely continue to garner, this is one worth exploring further. here are some thoughts on imax in the dark knight, its relationship to hollywood, and its future .
haywire ,
steven soderbergh' s action thriller starring mixed martial arts star gina carano, had a less impressive opening of only $ 9 million. that trailed the $ 10. 5 million the 9 / 11 drama
extremely loud and incredibly loud
made as it expanded from limited release to theaters nationwide .
haywire
got the most love from critics, but audiences didn' t like the movie, giving it a dismal d + cinemascore. the movie — which cost relativity media $ 23 million to produce before tax rebates — resonated with young moviegoers, as 64% of the audience was under the age of 35 .
unlike her all - business “haywire” character, she is quite animated in person. after one “american gladiators” bout, for instance, she was accused of using an illegal kick to the head. but she just shrugged lightly and said, “it wasn’t a kick, it was a step, ” demonstrating with an insouciant smile .
the ballad of narayama
is a japanese film of great beauty and elegant artifice, telling a story of startling cruelty. what a space it opens…
the film of the book of daisy miller received a rare 100% rating on rotten tomatoes from 6 critics, but a measly 23% from audiences .
religious films are often given mixed or negative reviews by critics, but popular with the audiences that watch them. for example, the passion of the christ was rated 49% on rotten tomatoes, but is the highest - grossing religious film and the highest grossing non - english language film of all time .
story: afi fest: secret screening is steven soderbergh’s ‘haywire’ the fine use of locations, elegantly mobile shooting style and hair - trigger editing are all in line with what one expects from soderbergh. but here the generally larky but serious - when - it - needs - to - be tone is set by the wildly diverse musical contributions of david holmes, whose film score - sampling background and blues - and - jazz techno orientation yield many different flavors to occasionally jarring but overall bouyant effect .
earlier this summer i found myself wondering how i could best describe the work of film composer hans zimmer. in many respects, zimmer’s contribution to modern film scoring is extensive as it is expansive. with this post i’d like to discuss the constitutive elements of the zimmer “sound” and how it works with the image .
the movie appealed largely to an african american audience this weekend, and 66% of the crowd was over the age of 25. those who saw the film loved it, giving it an average grade of a. like the new
underworld
film ,
red tails
has received overwhelmingly negative reviews .
steven soderbergh has mashed, fermented and distilled a range of familiar seventies revenge - movie tropes into a cask - strength action thriller. haywire, his 25th feature as director, features a wronged woman out for payback, an ever - deepening conspiracy and a raunchy brass and wah - wah soundtrack, but it’s no mere exercise in pastiche .
it also includes the company’s minority stakes in a sports management group, the for - profit relativity education and a joint film marketing and distribution entity with europacorp .
there have been at least two points in history where critical dissonance got to such a point that it led to a paradigm shift within film criticism in general .
which leads me to my next point regarding zimmer’s sound. the power anthem may be the most recognizable and disseminated technique popularized by the composer, but it says nothing of his art. there is a much more instinctive scoring technique that zimmer continues to employ in film after film that has evaded considerable focus and attention .
to come to the rescue. when you see a woman gamboling in the nude in a meyer film, you stay gamboled with... i return to
, took top spot on the chart. the film sold 510, 000 units / $ 10. 19 million giving it an opening week blu - ray share of 52% . at this point, any action film that doesn' t open with a 50% blu - ray share should be considered a disappointment .
after all, despite the unknown quality of its former mma fighter turned actress, gina carano, haywire looked like a straight to video action gem, only with an elite cast and the artistic eye of director steven soderbergh. all of which i assumed would make for a near perfect action flick. this, however, is not the case .
“haywire” is lovingly lighted and filmed, its action as sparingly edited as old hollywood musicals, so that the painstaking fight choreography can be appreciated. as the double - crossed freelance agent mallory kane, ms. carano gives “haywire” jolts of energy with her arsenal of explosive moves: pushing off walls, slinging sheet pans, twisting arms until they break. in one memorable scene michael fassbender, playing a suave colleague, engages mallory in a furniture - smashing brawl in an expensive hotel room in dublin. mr. fassbender recalled ms. carano needling him to hit her harder. “i kept telling her, ‘gina, this is called acting, yeah? it’s pretend. i don’t have to hit you, ’ ” said mr. fassbender, who in “haywire” tosses ms. carano, dressed in black herve leger, into a flat - screen television. “i’m going to make myself look like a real wuss, but i was wearing padding. but she wouldn’t. she was stubborn like that. i think she likes the bruising. ”
batman v superman dawn of justice is incredibly polarizing. the vast majority of critics panned the film, with one memorable headline calling it
a crime against comic book fans .
audiences well, it' s actually hard to tell. many sites were review - bombed with perfect scores about a day before the film came out, but the voices and user reviews since then haven' t been anywhere near as vitriolic as the critics, finding it a flawed but entertaining film .
gina carano is not an actor by trade, and there are a few times during' haywire' where that' s pretty apparent. she delivers her lines flat, with little embellishment, but the thing is, that' s the point, because soderbergh has expertly crafted a movie around her that can only be described as action movie minimalism .
but the storied superhero and super - spy movies that hit theaters each summer, which comprise most of the action roles available to men, are based on properties that are decades (and sometimes centuries) old. by contrast, the three best - reviewed female - led action movies in recent years— salt, hanna, and now haywire —are completely original properties, with strong, well - written female leads to match. these movies have a contemporary, refreshingly progressive tone that speaks to the changes in the genre. salt was originally intended as a vehicle for tom cruise; the script was successfully rewritten for angelina jolie when she commented to a sony executive ,
i want to be bond !
haywire' s star, gina carano, is known primarily not from the red carpet but from the mixed - martials arts octagon .
you want me to be eye candy ?
asks carano in haywire' s trailer, with a skeptical tone that indicates that a night in an evening gown is the worst assignment she' s had in ages .
christmas eve, a forgettable 2015 film starring patrick stewart, has a rare 0% on rotten tomatoes, but audiences gave it a barely - fresh 61% .
looking to cast a new film sensation? then visit a prison, look at instagram or head to a station. because that’s where these future stars were hanging out
haywire will inevitably be compared to action - woman romps such as kill bill, salt and lara croft: tomb raider, but it’s genetically closer to nicolas winding refn’s pulp - literate neo - noir drive. for the first time since his ocean’s eleven films, soderbergh seems to be relishing cinema’s potential for fun – and that means we do, too .
the second approach rests on the expressiveness of film music. i am particularly drawn to noel carroll’s theory of “modifying music, ” whereby music helps to clarify mood, setting, character, or dramatic import of a scene. jeff smith has noted that carroll’s theory represents “an aspect of musical cognition, a means of enabling spectators to gauge the emotional qualities of a scene” (“unheard melodies? a critique of psychoanalytic theories of film music”). by acknowledging the emotional currency of film music, we can begin to understand its affective qualities beyond both musicological and abstract psychoanalytic frameworks. “a cognitive account of film music, ” writes smith, “would not only more directly address the issue of the spectator’s awareness of film music, but would also address the spectator’s mental activities in utilizing cues that musically convey setting, character, and point of view. ”
avc: you talked about critical perception. what do you feel is your most underrated film? is there an orphan in your filmography that you’d like to see adopted ?
if you had a schwarzenegger, you crafted a film that required raw power, little agility, and (particularly early in his career) a bare minimum of speech .
video: comic - con 2011 gina carano, michael douglas in' haywire' trailer soderbergh and scenarist lem dobbs, who previously wrote kafka and the limey for the director, seem keen to admit that the action scenes are the point of the film, content to construct a plainly generic story around them. it’s a straight revenge tale, with mallory fighting her way through assorted muscle - bound, well - armed and otherwise formidable obstacles in order to find out who set her up for assassination after she pulled off the barcelona job .
not one of my favorite soderbergh films, it is one hell of a film, and one that should be seen by as many people as humanly possible. shot digitally for only $ 2 million, the film stars david duchovny, julia roberts, catherine keener, david hyde pierce, blair underwood, brad pitt, rainn wilson, rashida jones, and even david fincher, and is best described as a film about the day in the life of a collective of people in hollywood, prior to a birthday .
there is no doubting mr. soderbergh’s skill or the sincerity of his interest in some of the technical problems of postmodern cinema. and “haywire” explores interesting questions about the nature of acting. ms. carano does, strictly speaking, very little of it. her expressions run the gamut from glower to pout, and her features give little indication of her character’s inner state .
mallory kane, the heroine of
haywire ,
is a splendid example of the character type. her first name springs from a latin root for evil, and her last name evokes associations with british pornography (
strict instruction for naughty schoolboys. call miss kane
). steven soderbergh' s latest film is a thriller that has next to nothing to do with sex, except as an implement of distraction, but under the surface, there' s an appeal coiling to that part of many men that feels kinda needy about lara croft .
for example, in blood simple, abby shots through a door at the end of the film believing that she is wasting her nasty husband. alas, he was already dispatched, buried alive by the roadside. the audience knows what abby does not, that she is actually shooting the sleazy private detective visser. similarly, the extensive cross - cutting in fargo enables the audience to generally know what its ensemble of characters do not; to wit, the kidnapping plot, a heinously bad idea to begin with, is going tragically haywire. [ ↩ ]
well, this is a kick in the pants. (and the face… and pretty much anywhere else gina carano could knock you on your butt clear into next week .) in addition to a less - than - impressive opening weekend at the box office, steven soderbergh’s well - reviewed action caper haywire earned a dreadful, if not entirely baffling, d + grade from cinemascore .
in haywire, there’s nothing to really cling on to from the outset. we gather that ‘something’s gone bad’ on a mission and that carano’s character, mallory kane, is on the run, but we’re never really given any reason to care about her, have no idea what her thoughts or feelings are towards anyone, or anything, beyond ambivalence and a dislike of wearing dresses .
haywire is a pared - down, almost simplistic action movie. director steven soderbergh has a wide - ranging filmography, though it can be argued that his
fun
entries (out of sight, ocean' s eleven, etc .), are overall better than his
serious
movies. this one is mostly designed to showcase the beauty and power of soderbergh' s new star, female mixed martial arts fighter carano. haywire features many fine, recognizable actors in small roles; their dialogue is spare and never divulges too much information or panders to the audience. (that said, the story itself is a fairly old one in this genre, and aside from the fact that haywire is told in a non - linear fashion, it doesn' t have much to add .) soderbergh presents the fight scenes cleanly and simply, often without a music score, though he uses a funky brass score for chase scenes. however, in stripping away the fat, soderbergh has also taken away some of the movie' s emotional content; though it' s a thrilling experience, it' s also a somewhat surface one .
she’s wary when it comes to speculating about her future in movies, but she’ll allow that she’d love to play someone more light - hearted than the tough customer she portrays in “haywire. ” “she’s very serious. i laugh a lot, ” ms. carano said. “there’s only one time in the movie that she smiles, and that’s when she’s pretending to be drunk. ”
haywire gets right down to the business in the opening scene, a very rough tussle between mallory and an agent (channing tatum) with whom she has history. escaping in a car with a freaked - out young man named scott (michael angarano), she relates what’s led up to this tense moment, beginning with the barcelona caper, which mallory pulled off with great panache .
critics looooove the horror film it follows. audiences are much more mixed, though generally positive. (a 65% on rotten tomatoes isn' t bad, after all. )
but then understanding entirely what' s happening isn' t really necessary, because much of that jargon - heavy complexity is really a decoy — a device supporting the first - act notion that haywire is a complicated machine in the mold of ocean' s eleven. (that film' s composer, david holmes, heightens that perception with the same sort of jaunty, jazzy lounge music that defined ocean' s .) in reality, it' ll turn out to be a deft, single - minded revenge story that shares dna with the thoughtful, darkly funny the limey .
chris hemsworth kicks off filming for the star - studded men in black spin - off as he cuts a sharp figure in london... 21 years after the first film hit screens
the steven soderbergh film is being adapted at the unit — soon to be an independent company following its purchase by a group of senior lenders in relativity’s ongoing bankruptcy process, reported thewrap .
david lynch is very popular among film critics and intellectuals for making innovative cinema that at least tries to do something different. other moviegoers literally hate his pictures for being bizarre and arty .
ss: here was my plan: my way of trying to keep the film in a commercial zone was to treat it like a genre film, to treat it like a horror movie, and not make it feel important, and not make it feel like oscar bait. i wanted it to move. i really looked at it like a genre film. at the same time, i wanted not to indulge in a lot of the tropes that genre films trade in. but it was an irwin allen movie, as far as i was concerned .
the movie got off to a far worse start than soderbergh' s last film ,
contagion ,
the global pandemic thriller that debuted with $ 22. 4 million last september .
carano’s acting was her weakest skill in haywire, but it didn’t help that she was working with some of the best actors in the business — doing scenes with michael fassbender can make anyone look like a rank amateur. but is john stockwell the guy to bring out her acting talent? not sure about that, but carano is a good screen presence regardless, so i’m willing to see what happens .
imagine an entire action film dedicated to the proposition that every fight possesses the intensity of the classic sean connery - robert shaw to - the - death scrap in from russia with love and you’ll know what haywire is all about. with all the feel of a vacation from more high - minded and ambitious projects, steven soderbergh celebrates making his 25th feature film within 22 years with a kick - ass international action romp toplining mixed martial arts star gina carano as a covert operative who proceeds to whup a succession of macho leading men in addition to assorted anonymous foes; she’s pepper to angelina’s salt. world - premiered as a surprise sneak preview at hollywood’s afi fest, this relativity release should enjoy a solid commercial career with action - seeking male and female audiences upon its jan. 20 release .
execs from the london - based banner, who are heading to cannes next week, have already invested in “queen of diamonds, ” a 1960s london gangster movie to be helmed by catherine hardwicke; black - list script “blood mountain”; inferno’s and chuck russell ’s “arabian nights”; and action pic “in the blood. ” “in the blood” will shoot this fall in puerto rico and star “ haywire ’s” gina carano .
how the grinch stole christmas is a very divisive film, especially in terms of this trope. it received a 53% on rotten tomatoes and a 46% on metacritic, but spent four weeks as the # 1 film in the us, and was the highest - grossing movie of 2000 domestically, with $ 260 million. the film was nominated for three academy awards, winning for best makeup (which, if you' ve seen the behind - the - scenes footage, is very well - deserved), and was nominated for two razzies, but won neither .
as for genre, james mottram (2000: p. 124) has neologized fargo as a film blanc (“white film”). in this vein, fargo opens with a blinding haze of white as jerry’s car traverses the austere upper midwest winter in one of many moments that emphasize the harsh environs. however, the film presents slipperiness that extends further than its relation to genre, as i discuss below. this article attempts to parse what fargo says, mainly with respect to identities (particularly as they are gendered) and in its posture toward the structuring logics of capitalism .
i really liked
haywire
and gina carano is one tough cookie with an ax to grind. the film has a very independent feel about it, along with a very retro style. carano is great in her role, totally believable and the girl does her own stunts! the story is a bit hard to follow so you do have to pay attention and have a normal adult attention span. if you are expecting
fast and furious
or some other schlock like that, this is not the movie for you. there are intense action scenes and slower parts where the story really unfolds. all of the male stars in this film are simply backdrop for gina' s kick ass, don' t f * * k with me fellows attitude. a very unique and intelligent story worth seeing .
die hard with a vengeance was somewhat divisive to critics (though its reputation has improved since then), but was still the highest - grossing film of 1995 and well - received by fans .
darren aronofsky' s film mother got fairly positive reviews from critics with a 68% rating on rotten tomatoes, but in manner similar to killing them softly, audiences gave it an f cinemascore .
out cold was panned by reviewers giving it an 8% on rotten tomatoes. but the film immediately gained a small cult following, as it has an 85% user rating on that site .
the 2009 canadian sci - fi / horror film splice was a critical hit because it was different from most horror films. audiences, meanwhile, got turned off by it for the same reason .
a few years ago, two other approaches to the study of film music struck a chord with me. the first is exemplified by robert faulkner’s 1978 essay in qualitative sociology, “swimming with sharks: occupational mandate and the hollywood film composer. ” faulkner distills the working relationship between the composer and director in hollywood and argues that the composer may have artistic license on a project, but ultimately the producer and / or director will negotiate the role and function of music in the film. faulkner writes, “only the craft really belongs to the craftsman. the product belongs to someone else. ”
i call the plot nonsense. ask yourself this: how could any organization or
contractor
survive for long with the death rate we see here? at the end of a year, no one would be left alive, except a few mail - room clerks. soderbergh seems to be amusing himself with the variety of his locations: barcelona, dublin, new mexico, new york state and executive offices in unnamed cities. a film like
haywire
has no lasting significance, but it' s a pleasure to see an a - list director taking the care to make a first - rate genre thriller .
in another sense, though, nothing is really in doubt, and very little is at stake. unlike the “bourne” films, whose baroque webbing of plot and counterplot suggested an allegory of global paranoia, “haywire” goes to great lengths to avoid being about anything beyond its immediate situations and effects. it is self - consciously and aggressively trivial, a feast for formalists who sentimentalize the gloriously cheap b - movies of the past .
though her mixed martial arts career has been put aside for 2 ½ years, ms. carano still thinks of herself as a fighter. time and the “haywire” experience have allowed her to view her loss to cyborg differently. “it put me in a very humble and honest place, ” ms. carano said. “like: ‘gina? maybe that can happen. maybe life isn’t always going to go your way. ’ ”
haywire is a 2011 american action thriller film directed by steven soderbergh , starring gina carano , michael fassbender , ewan mcgregor , bill paxton , channing tatum , antonio banderas , and michael douglas . carano , a mixed martial arts fighter , performs her own stunts in the film . the score is by northern irish dj and composer david holmes . carano is cast as mallory kane , an operative who works for a company that handles sensitive " black operations " covertly so that the government can maintain plausible deniability , and who is targeted for assassination by a conspiracy that she is forced to unravel . 
haywire is a 2011 american action thriller film directed by steven soderbergh, starring gina carano, michael fassbender, ewan mcgregor, bill paxton, channing tatum, antonio banderas, and michael douglas. carano, a mixed martial arts fighter, performs her own stunts in the film. the score is by northern irish dj and composer david holmes. carano is cast as mallory kane, an operative who works for a company that handles sensitive " black operations " covertly so that the government can maintain plausible deniability, and who is targeted for assassination by a conspiracy that she is forced to unravel.
haywire is a 2011 american action thriller film directed by steven soderbergh, starring gina carano, michael fassbender, ewan mcgregor, bill paxton, channing tatum, antonio banderas, and michael douglas. carano, a mixed martial arts fighter, performs her own stunts in the film. the score is by northern irish dj and composer david holmes. carano is cast as mallory kane, an operative who works for a company that handles sensitive " black operations " covertly so that the government can maintain plausible deniability, and who is targeted for assassination by a conspiracy that she is forced to unravel.