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Director Luc Besson gifts technology and grandeur to the latest clone of his 1990 “Le Femme Nikita”; audiences have become immune to female assassins (my preferences, “Evelyn Salt” and “Lisbeth Salander”); “Anna”, (lithesome, lovely Sasha Luss,) goes through the expected walloping’s, reaching the depths of abasement, before being recruited by KGB operative “Alex Tchenkov”, (Luke Evans); she passes KGB supervisor “Olga’s” (Helen Mirren, champions the role) enormous initiation and enters the realm of elite espionage; escalating success, as the missions and slayings mount, she’s entrapped, a slave to management; floundering, an emotional nadir looms; trapped by the CIA in an untoward act, leading to her new career as a double agent; agent “Leonard Miller” (my prime reason for venturing into “Anna”, Cillian Murphy) accepts her main bargaining goal, anonymity, freedom; exponentially, with theme park twists and turns viewers are sucked into the audacious, inconceivable, mostly implausible Bessonian fantasy paddock.

With the plethora of mediocrity invading today’s filmic choices, “Anna”, with dynamic couture and blissful views of Paris, Moscow, New York douses dozing, allowing one to exit smiling as its puckish absurdity.





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