Review: Haywire
01.19.12Steven Soderbergh’s 2011 output reminds me a lot of post-Pinkerton Weezer. I don’t want to speculate as to what hurt Soderbergh’s feelings the way Pinkerton’s poor sales and appearance on Rolling Stone’s worst albums of 1996 list (I’ll never forgive you for that, Rolling Stone) hurt Rivers Cuomo’s, but Haywire and Contagion feel like Soderbergh playing with genre movies, the same way everything after Pinkerton felt like experiments with different pop styles, rather than an earnest attempt to make personal music. Taking on less personal work a great way to pump out product quickly and not be too emotionally invested if it fails (because they’re essentially cover songs anyway), but you can sense the detachment. And a detached artist is… kind of boring.
Haywire is Soderbergh’s contribution to the Bourne/Hanna/Columbiana/Abduction sassy vengeance oeuvre, with the twist being that he cast former MMA star Gina Carano, one of the only pretty girls around who actually looks believable beating up grown men (the other? you guessed it, Maya Angelou). Adding believability is almost revolutionary in the hot-chick-beats-up-dudes genre, and Soderbergh, competent as always, does a solid job building a story that tracks, and never makes you go “what? That’s stupid.”
Only he forgot one key ingredient – fun. There seems to be a fundamental misunderstanding that Haywire‘s audience cares about which secret agent double crossed Agent Sexpunch (was it C-Tates? Banderas? Ew-Greg?), when really we just want to see her look sexy and punch stuff. There’s one truly transcendent fight scene in a hotel room that hits just the right note of intimate brutality, where Gina seems like she might f*ck you but will probably kill you, but the rest of the film just sort of chugs along clinically, hitting all the positions, but never quite giving you the full girlfriend experience.





