Watch Atomic Blonde 2017 Full HD Movie

Today Good News,, Watch Atomic Blonde is a 2017 American action-mystery thriller film directed by David Leitch and written by Kurt Johnstad The scene people are talking about in Atomic Blonde comes about two-thirds of the way through the picture. As a British MI6 operative in 1989 Berlin recovering a secret list while the Wall totters, Charlize Theron crashes through the halls and stairwells of an apartment where she bashes assailants with household objects and gouges unmentionable parts of the anatomy with corkscrews.

Watch Atomic Blonde Full Movie

Country: United States
Year: 2017
Category: Action, Mystery, Thriller
Release Date: 25 August , 2017
Director: David Leitch
Starring: Charlize Theron, James McAvoy, John Goodman
Age Restriction: 18 years
Duration: 114 minutes
Budget: $80,000,000

It’s as intense a fight as any in modern movie memory, and by the time it finishes and the audience remembers to breathe, Theron is more worse for the wear than she’s been since her Oscar-winning performance as a serial killer in 2003’s Monster. Not so long ago moviegoers of any gender would have been skeptical of such a scene with a woman, but no one will have trouble believing Theron’s ferocity.

Given her early personal history—tragic and sensational enough to sound apocryphal—you get the feeling Theron doesn’t plumb too many depths to get in touch with her inner Bad Girl. She grew up in apartheid-era South Africa, the only child of a fraught marriage that ended when her mother, defending herself and her daughter, shot and killed Theron’s abusive alcoholic father. (The mother was legally exonerated.)

The younger Theron studied ballet until an injured knee betrayed her, and two decades later it would be a dancer’s sense of her own physicality that persuaded George Miller to cast her as the one-armed avenging angel Furiosa in Mad Max: Fury Road, one of the rare occasions when anybody has upstaged Tom Hardy. Theron knocked around Europe and New York as a model, and then her ever-supportive mom financed a trek to Hollywood, where she got her break when an agent spotted her in a shouting match with a bank teller; not long after, Theron fired the agent for trying to land her the lead role of a stripper in 1995’s Showgirls, which went to never-heard-from-again Elizabeth Berkley. Theron’s speaking debut came the following year as a hit man’s moll in the Tarantino-lite 2 Days in the Valley, and she’s what you remember if you remember the movie at all, even among an estimable cast comprising Jeff Daniels, Danny Aiello, and James Spader thinking he was stealing the picture that Theron stole from him, particularly in a protracted scene of hand-to-hand battle with Teri Hatcher.

The Hollywood vogue in two-fisted women isn’t new. It’s been gathering steam for as long as Theron has been in pictures, during which Milla Jovovich in the Resident Evil series was more a prototype than anyone wants to admit and The Hunger Games helped make Jennifer Lawrence one of the planet’s biggest stars. But the trend has reached critical mass this summer with Atomic Blonde and the unexpected phenomenon of Wonder Woman, featuring the summer’s other über-femme, former Israel Defense Forces combat trainer Gal Gadot. While the overthinking American depressive in me wishes this was a collective cultural response to the misogynist-in-chief currently running things, of course that’s silly. Movies take too long to make to be an instant response to anything.

More likely studios and filmmakers finally crystallized what always was an obvious formula for having the cake and eating it: Heroines who are figures of empowerment for not only gamer girls but mature women who ordinarily don’t care about comic book movies like Wonder Woman; and heroines who also are figures of hotness for sexually flammable boys of all ages. Before any of us, men especially, start making undue claims to enlightenment, it should be stipulated that you don’t need to be too far up the male evolutionary scale to spend two hours watching Lawrence or Gadot, or Scarlett Johansson in this past spring’s Ghost in the Shell, or for that matter Emilia Clarke marshaling dragons on behalf of her inevitable triumph in Game of Thrones. Women filmgoers, who have an evolutionary head start, however, note not unreasonably that although it’s swell a major summer blockbuster like Wonder Woman is directed by a woman (Patty Jenkins), a female writer wouldn’t have hurt either. This is all the more evident when the
picture peaks halfway through with Diana Prince’s charge from the trenches of World War I evoking Joan of Arc, before the film descends into the typical wall-to-wall smash and boom of every other superhero movie made by guys.

I can’t think of any actor more deserving of their own pulpy action franchise than Charlize Theron. Having stolen Mad Max: Fury Road from Tom Hardy one-handed (literally), she is relentlessly, murderously brilliant in this adaptation of Antony Johnston’s graphic novel The Coldest City. The setting is Berlin just before the fall of the Wall; the paranoid hangover of the cold war is giving way to a new era of hungry opportunism. A British agent has been murdered; a valuable list is missing. And MI5 asset Lorraine Broughton (Theron, looking like Debbie Harry dipped in venom) is flown in to clear up the mess. There she butts heads with fellow agent David Percival (James McAvoy, skeevy-sexy, accessorised with beer sweats and casual treachery) and has a fling with rookie French spy Delphine (Sofia Boutella, lots of smouldering in fishnet body stockings).

First time director David Leitch favours a sleazy, neon aesthetic that looks like an X-rated, ultraviolent knock-off of a Duran Duran video. The soundtrack is a largely credible mix tape of 80s pop-rock featuring New Order, Depeche Mode, Siouxsie and the Banshees and, perhaps inevitably, Nena’s 99 Luftballons. But it’s in the action that Leitch, formerly a stunt co-ordinator and second unit director, shines. Most notable is the blitzkrieg of an action climax, a 10-minute “single shot” as ambitious as anything in Alfonso Cuarón’s Children of Men, which sees Lorraine crunch and batter her way in and back out of a dank East Berlin tenement, using guns, feet, fists, a two-ring hotplate, a corkscrew and a car to dispatch the Soviet agents on her tail.

In fact, the appearance of a one-take sequence is created by seamlessly stitching together nearly 40 separate shots. But even knowing this doesn’t lessen the pulse-pounding, propulsive thrust. You forget to breathe. More importantly, you forget to question the needlessly complicated layers of double-crossing that clog up the third act of an otherwise impressively lean piece of storytelling.

You’ve barely settled into your seat at the South Korean revenge extravaganza The Villainess before arterial blood starts spraying across the screen. Liberace had the Dancing Waters; director Jung Byung-gil has the Dancing Carotids, crimson aerosols accompanied by the sssssss sound that signifies somebody’s tank will soon be empty.

The film’s intricately choreographed opening sequence is like a video game, with the audience taking the perspective of an unidentified assailant, shooting, stabbing and hacking their way through a warehouse of baddies. It’s meant to be a shock when this killing machine stops in front of a mirror and we see: It’s a female! Not only that, but a diminutive adolescent.

This will be less of a surprise to fans of Asian movies, with their long history of female action stars (Brigitte Lin, Michelle Yeoh, Maggie Cheung, Shu Qi, Maggie Q). What is entirely new about The Villainess is that it marries its revenge scenario to a melodrama of maternal sacrifice, with the film’s terrific star, Kim Ok-bin, suffering more than Joan Crawford ever did.Kim plays Sook-hee, trained to be a killer since childhood. The initial bloodbath is her revenge on the thugs who murdered someone she loved. Caught by South Korea’s Intelligence Agency, she is forced into a sort of finishing school for sleeper-cell assassins. The movie borrows heavily from La Femme Nikita, and as in that 1990 film, Sook-hee can gain her freedom only by going back into the world to kill government targets. But in this case there’s also an adored toddler, raised by Sook-hee during her training, which allows her handlers to apply extra incentive.

Somewhere amid the tears and gore is a potent idea about needing to kill your past to move on with your life. I have to confess to getting lost among the plot machinations, layers of betrayal and sometimes disorienting flashbacks. But I admired the blunt aggression of the melodrama and the kind of truly vicious mayhem that, as befits a great sick joke, makes you gasp and guffaw at the same time.It also successfully unites two cinema archetypes—the suffering woman and the male bent on vengeance—in one character, allowing Sook-hee to be both unforgiving and vulnerable. That’s what’s missing from Atomic Blonde, the summer’s other female revenge offering. Charlize Theron’s agent is sent on a mission to retrieve a cache of information that could be embarrassing to Western intelligence; a more compelling motive would have been a quest to get the bastards who killed her lover. But the movie isn’t conceived to allow Theron, an actress who has always suggested febrile intensity beneath a composed exterior, to mourn, e

ven in those private moments that form the bond between character and moviegoer.Atomic Blonde is still a triumph of style thanks to the sleek and steely Theron, but its hollowness is odd, given that the director, David Leitch, co-directed John Wick, a film that worked so well because the soulful Keanu Reeves was allowed to show his character’s mournfulness as much as his thirst for vengeance. It’s a combo that cuts to the heart of the low-down appeal of action movies, and The Villainess has it in bloody abundance.

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