6.5 | / 10 |
Users | 0.0 | |
Reviewer | 2.5 | |
Overall | 2.5 |
Beneath Anna Poliatova's striking beauty lies a secret that will unleash her indelible strength and skill to become one of the world's most feared government assassins.
Starring: Sasha Luss, Cillian Murphy, Luke Evans, Helen Mirren, Alexander Petrov (X)Action | 100% |
Thriller | 30% |
Video codec: MPEG-4 AVC
Video resolution: 1080p
Aspect ratio: 2.39:1
Original aspect ratio: 2.39:1
English: Dolby Atmos
English: Dolby TrueHD 7.1 (48kHz, 24-bit)
Spanish: Dolby Digital 5.1
English SDH, Spanish
Blu-ray Disc
Two-disc set (1 BD, 1 DVD)
Digital copy
DVD copy
Slipcover in original pressing
Region A (locked)
Movie | 2.5 | |
Video | 4.5 | |
Audio | 4.5 | |
Extras | 2.0 | |
Overall | 2.5 |
Some armchair psychoanalyst somewhere may have the makings of a private study of sorts with regard to Luc Besson and Anna. The noted filmmaker has had a string of less than successful films over the past several years, and he’s also relatively recently weathered a series of #metoo- esque accusations, which may all provide some telling subtext for Anna, a film which would seem to offer Besson a refuge of sorts, a “security blanket”, cinematically speaking, where Besson could revisit at least some aspects of one of his better remembered success stories, La Femme Nikita. And in fact had that 1990 smash not been made in the first place, it would have been easy for Besson to have titled this entry La Femme Anna, or perhaps женщина Анна, which is what the Google translate machine informs me is the Russian equivalent of that moniker. Anna is yet another film positing a female assassin recruited into the ranks of (in this case) two spy agencies, with an underlying psychological element being traumas suffered by the title character (portrayed by Sasha Luss). It’s all probably unavoidably reminiscent of not just La Femme Nikita, but a number of other films featuring “damaged” females working as hitwomen (Red Sparrow sprang instantly to my mind, probably because I reviewed it, but there are manifold others that could be cited). Unfortunately, whatever magic Besson brought to his “previous version” of at least some elements of this tale seems to have dissipated, leaving Anna strangely listless and unenergetic.
Anna is presented on Blu-ray courtesy of Lionsgate Films with an AVC encoded 1080p transfer in 2.39:1. I haven't been able to track down any authoritative technical data on the shoot, but frequent Besson collaborator cinematographer Theirry Arbogast has used Arri Alexas on previous films with Besson, for what that's worth, and I'm assuming this was finished at a 2K DI (as always with my reviews, if anyone can point me to verifiable information, I'll happily update the review). This is a rather striking film on its own merits, though some Besson fans may find it at least relatively tame looking when compared to some of his earlier works. Detail levels are quite engaging throughout the presentation, and Besson and Arbogast like to feature close-ups quite a bit of the time, something that helps to elevate fine detail levels on everything from facial pores to textures of fabrics on costumes and furniture. There is both unusual lighting and some grading employed, with some moments, notably a flashback to Anna's life as a drug addled abused woman, where a yellowish tint can make things look slightly murky. On the whole, though, the palette pops extremely vividly and even "dowdier" elements like the browns in Olga's outfits look nicely saturated.
Anna features a generally immersive Dolby Atmos track, one that expectedly kicks into high gear during some of the action set pieces, where a glut of well positioned sound effects surrounds the listener with everything from gunshots to crunching bones. Ambient environmental sounds provide near constant activity in many of the frequent outdoor scenes. Eric Serra's nice sounding score also resides winningly in the surround channels and helps to establish momentum in several key sequences. Dialogue is always rendered cleanly and clearly throughout the track. This may not be the "showiest" Atmos track I've personally reviewed, at least in terms of "over the top" (figuratively and literally) activity, but it provides a consistent array of discrete channelization and an enveloping sense of almost subliminal menace some of the time.
My hunch is you haven't seen any of the many previous films featuring female assassins, not necessarily limited to La Femme Nikita, you may find Anna considerably more engaging than those who have seen at least some of those previous journeys down many of the same plot points. Besson manages to craft a generally brisk entertainment here, and there are at least a couple of very well staged set pieces, but a lot of this film has a kind of tired, rehashed quality that keeps it from totally hitting its perceived bullseye. Technical merits are solid for those considering a purchase.
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