By Anthony Solorzano II
In Steven Soderbergh’s well-crafted, action-thriller “Haywire,”
it is shown that action films can be more than just mindless fight
sequences. The film’s direction proves that it takes a specific
style to tell a story full of action-packed-sequences, while
putting too much emphasis on each fight.
With underscore music that amplifies the performances of
Soderbergh’s well-casted ensemble, “Haywire” proves to be a film
you don’t want to miss.
“Haywire” follows Mallory Kane (Gina Carano) as she tries to
uncover the person behind a mission that was supposed to end with
After being hired by the U.S. government to deliver a hostage
kept in Barcelona, Kane is soon dispatched and assigned to a new
operation in Dublin.
During her mission in Dublin, she discovers that there is more
to the mission than what she was originally told.
Soon after realizing she was sold out by one of her partners,
Kane embarks on an action packed odyssey to try and figure out who
Following numerous fight scenes, whichseemed choreographed, but
beautifully set up by Soderbergh’s direction and Holmes’ music and
a plot that reminds us of old espionage films from the golden age
of Hollywood, Kane unfolds the real mission for she was hired.
While watching Haywire, we are reminded of how talented
Soderbergh is at telling a story.
With this film, he depends on the story unfolding visually
rather than depending on dialogue and fight scenes, like other
action films tend to do.
In a scene involving Kane’s first mission, she finds herself
planning out her assignment, which is to rescue a hostage kept in
Barcelona. Before the actual rescue takes place. Soderbergh shows a
montage of the planning taking place with no dialogue and
magnificent music by Holmes.
Once the fight finally starts, the music in the scene stops,
giving us a real feeling of the fight by hearing the reaction of
both involved in the scuffle.
With such a small detail that may be overlooked by viewers,
Soderbergh’s decision can be justified to be an artistic decision;
an artistic decision that gives each fighting scene a unique and
realistic feel to them.
Besides Soderbergh’s direction, one of the film’s most
noticeable aspects is the music playing in every scene, aside from
the fight sequences.
In Holmes’ sixth collaboration with Soderbergh, he shows that
great music can come from a team like this.
During a flashback scene where Kane realizes what actually
happened during her mission, no dialogue is used, but the entire
scene is elegantly underscored by Holmes’ music.
Jazzy at times, with a heavy usage of bass and a brass section,
Holmes’ score gives the director’s story a specific style that is
distinctively identified to be Soderbergh’s.
With the month of January having a horrible track record of
releases, it is a breath of fresh air to see a beautifully crafted
film like “Haywire.”
Show Comments (0)