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With Lock, Stock and Two Smoking Barrels and Snatch, director Guy Ritchie established himself as a master of bravura set pieces and buddy movie banter, before proving he could successfully meld the irreverent spirit with classic properties in his Sherlock Holmes adaptations. Now, Ritchie brings his signature touch to his big-screen translation of the beloved 1960s television spy show, The Man from U.N.C.L.E. 1963: in the thick of the Cold War, roguish CIA agent Napoleon Solo (Henry Cavill) forms an uneasy alliance with brooding KGB officer Illya Kuryakin (Armie Hammer) to thwart a criminal organisation with apocalyptic intentions. The rebellious daughter of a missing nuclear scientist (Alicia Vikander) is their only ticket inside the sinister ring - but to whom is she truly loyal? A desperate race against time will determine whether the scientist’s atomic research will shatter the delicate balance of power in the world. A thrilling spy romp with rich period detail and an infectious soundtrack of cool pop classics, The Man from U.N.C.L.E. puts a colourful, contemporary twist on 1960s espionage and delivers pure entertainment with swaggering ease. (Arrow Films)

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Necrotongue 

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English It was basically like a Bond film whose creators shamefully wasted the opportunity for witty dialogue. If they hadn’t, agent Solo wouldn’t have gotten on my nerves so much and agent Kurjakin might not have seemed like a Terminator with poor software. It could have been a great film if only Guy Ritchie hadn’t forgotten to put more zing into it. 4*- ()

POMO 

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English A movie that is pleasant to watch, but you don’t care what’s going on in it. Attractive and stylishly dressed actors who have nothing to do and a likeable retro audiovisual aspect. There’s always something going on, but the runtime feels longer than it actually is. The catchphrases and building of the dynamics of most scenes need more work on the screenwriters’ part. The comic book-like beginning of the final action scene is fantastically bolstered by the music used. A strong three stars. ()

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3DD!3 

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English The cool soundtrack saves an otherwise average spy story set in the days of The Berlin Wall. Pemberton is Morricone’s reincarnation. Ritchie has an incredible feel for music, but the catchy sixties hits were completely overshadowed by excellent instrumental music oscillating between western, spy genre and some weird ethno mix. The acting duo (Cavill, Hammer), trio (Alicia), quartet (Grant) is welcome, I wouldn’t turn down another adventure with them, with a bit more complex story of course. Some isolated scenes are actually genius (the snack in the car), but in general I expected just a little bit more. A fine chill. Noting more, nothing less. Damn. I left my jacket in the other room. ()

DaViD´82 

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English (over) An over-the-top stylized, undemanding spy retro one-time movie, which is not purely comedic, but it make you smile throughout the footage. Unsurprisingly, it is entirely dependent (even thanks to the unnecessary bad guys) on the squabble of the central trio, which usually works. Most of the time. And if not, "sixties" Ritchie, "Morricone-like" Pemberton or Uncle Rudi with his fairy tale carry it. ()

novoten 

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English As if made for a trip to the forgotten local cinema, where Italian architecture, old-fashioned form, and a nostalgic soundtrack quickly immerse the viewer. It was Daniel Pemberton's music that transported me to the sixties right from the first notes because this love letter to the divine Ennio Morricone is no rip-off but, fortunately, an honest and completely accurate tribute. Surprisingly, Guy Ritchie remains on the same wave as Sherlock Holmes, but because in practice this mainly translates to deadly exchanges of dialogue between the main duo, I have no problem with that. It just could have used a few more viewers. With its unexpectedly poor turnout, the combination of Henry Cavill's elegance, Armie Hammer's stubbornness, and Alicia Vikander's charm does not bode well for a series. ()

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