One of the most prevalent criticisms about The Rhythm Section is its pacing, which, quite deliberately, follows its own rhythm. The genre has typically been male dominated, and even the female-led films La Femme Nikita (1990), The Long Kiss Goodnight (1996), Salt (2010) and Atomic Blonde (2017) are often only validated by how much they share with James Bond, Ethan Hunt, Jason Bourne and John Wick. We’ve come to expect the spy film to be sleek and sexy, populated with gadgets, physics-defying car chases, expertly choreographed combat, and as much sex appeal as can be squeezed into a PG-13 movie. But both are reminders that for as much as critics and audiences tend to want stories that are new and break the rules, they seem to reject the films that do so at a frequency that’s nothing short of alarming. Neither the critical thrashing the film received nor the lack of box office support from audiences is deserved. Yet the critical score for the film on Rotten Tomatoes sits at 32 percent, and it took in a dismal $2.8 million over opening weekend. With three other books in the series, a modest production budget of $50 million, a stellar performance from Lively and a woman in the director’s chair, The Rhythm Section seemed like the perfect opportunity for those who have been making noise for the past several years about the next Bond being a woman and calling for new heroines unconnected to comic book IP. The Rhythm Section, written by Mark Burnell, who also penned the novel of the same name, had all the makings of a new spy franchise for Paramount and EON Productions, the producers behind the enduring Mission: Impossible and James Bond series, respectively. And that’s what makes her so compelling and interesting to watch.ĭirector Reed Morano isn’t interested in delivering what we’ve seen before, or hitting the comfortable beats of what has come to define the espionage-action film. Even after getting herself clean and learning a few skills, Stephanie is still a mess: one poorly equipped for the world of assassinations, dirty money and the web of lies she finds herself in. We’re not looking at a character who has been trained since childhood to be a spy, and Stephanie Patrick is not the next Jason Bourne or Natasha Romanoff. You’re a fucking cliché.” These words force her into action but never magically transform her into an action hero. B even points it out to Stephanie, saying, “You’re not a tragedy.
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She’s a mess, the kind of walking victim who would be relegated to a brief supporting role in some other spy movie before being brutally killed off, spurring the ex-agent back into action with the evidence she leaves behind. When Stephanie Patrick ( Blake Lively) meets ex-MI6 agent B (Jude Law), the man who will lead her to the terrorists who killed her family, she’s bruised, defeated and going through drug withdrawal.
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