There are enough new ideas, well-staged action sequences, and interesting characters to make this an enjoyable spy-adventure, which is neither an unqualified triumph nor the disaster that its box-office performance may have suggested.

Premise: The Townsend Agency has expanded globally, with divisions and agents now operating internationally. When Elena Houghlin (Naomi Scott), an engineer working for tech mogul Alexander Brok (Sam Claflin), discovers that a fatal design flaw in their latest product is being covered up, she comes to the Townsend Agency for help. Soon Sabina Wilson (Kristen Stewart), Jane Kano (Ella Balinska) and “Bosley” (Elizabeth Banks) are on the case.

Review:

It’s probably fair to say that no one was crying out for a new Charlie’s Angel reboot, but if you are going to relaunch the concept, I think it’s important to do something new with it. The original TV series was a fairly straight-up crime drama (albeit one that played up its sex appeal), whereas the two films from the early 00s (starring Cameron Diaz, Drew Barrymore and Lucy Liu) focused much more on the comedy aspects (alongside the stars’ sex appeal). While I have a soft spot for the earlier versions, they are all very much products of their time, and despite their themes of female empowerment there’s also no mistaking the “male gaze” perspective of those films.

This latest version of Charlie’s Angels (which is technically not a reboot, as it has links back to both the original TV show and the 00s films) comes at the material from a different angle, and that’s because this version was written and directed by Elizabeth Banks (who may be best known as an actor, but who had previously directed Pitch Perfect 2). The feel of this version falls somewhere between the TV series and the 00s films, as it still has some comedic elements, but generally the tone is that of a more serious action-comedy (rather than the almost spoof tone of the 00s films). Perhaps just as importantly though, Elizabeth Banks’ script never reduces the characters to mere sex objects, and if anything, her direction makes a concerted effort to tone down any overt sexualisation of the leads.

“…makes a number of interesting points about gender assumptions & biases…”

What I mean by that, is that although Kristen Stewart, Naomi Scott and Ella Balinska are clearly beautiful women, the plot doesn’t require them to put on any skimpy outfits or revealing costumes for no real reason, and for the most part, their outfits are practical rather than titillating. The film also explores the concept that being an “Angel” isn’t just about being head-turningly attractive, and it explains that there are many other “Angels” in the Townsend Agency who specialise in blending in on undercover assignments. In fact, Elizabeth Banks’ script makes a number of interesting points about gender assumptions and biases, from the idea that men take 7 seconds longer to realise that a female poses a risk to them compared to a male, or the argument that there’s no better way to be invisible to some men than to be a “plain” female.

But these examinations of gender prejudices are not dealt with in a heavy-handed way, and they never get in the way of a good, enjoyable spy mystery. Even Kristen Stewart’s opening monologue about male assumptions is delivered as part of a well-staged introductory action scene. I can’t say I’ve ever been a huge fan of Kristen Stewart, but this material really seems to suit her, and she’s arguably the main comic relief in the film. Naomi Scott probably gets the most to do in terms of character development, while Ella Balinska is the group’s muscle, playing a former MI-6 operative. This isn’t the kind of film that gives any of these characters huge amounts of development, but the leads have great chemistry together and do a good job of balancing the dramatic action with the comedic moments.

“…Elizabeth Banks directs some really impressive & (relatively) brutal action scenes…”

To complement the relatively young leads, there are some great “veterans” in the supporting cast. Elizabeth Banks plays the team’s immediate supervisor, a rank known as a “Bosley” in honour of the original John Bosley, who first managed the Townsend Agency on behalf of the enigmatic Charlie Townsend. We also see other “Bosleys” from different divisions, including Djimon Hounsou’s European division “Bosley”, and Patrick Stewart’s retiring “Bosley”.

Considering that this is only Elizabeth Banks’ second film (and her first was Pitch Perfect 2), she does an incredible job staging some really impressive and (relatively) brutal action scenes. A fist-fight, shoot-out and car chase across Berlin is perhaps the highlight of the film, but each action sequence feels urgent and visceral. Jonathan Tucker’s relentless assassin also makes for a fairly intimidating nemesis for the team.

“…a perfectly enjoyable action-adventure spy film, but one which doesn’t stand out from the crowd…”

If there’s a weak spot with the film, it’s unfortunately the plot. While there’s nothing wrong with it per se, it also feels pretty predictable and by-the-numbers for the most part. There are a couple of twists and developments that were surprisingly unexpected, but sadly, most of the main plot developments did feel fairly heavily signposted.

This means that overall, the film is a perfectly enjoyable action-adventure spy film, but there doesn’t seem to be any element that really makes it stand out from the crowd. The characters are enjoyable to spend time with, but you may find that you’ve forgotten their names by the end of the movie; the action is well put together, but lacks a specific set-piece moment that really sticks with you; and the plot is a good way to spend a couple of hours, but it doesn’t hold up to detailed scrutiny. All in all, this is the definition of the 3-star film – worth a watch, but perhaps not a film you’ll feel the need to revisit again and again.