‘Anna’

Anna? More like Luc Meh, Son — am i right?!?!?!

It’s a surprisingly-conventional (for Besson) Russian Doll of Cold-War spy-thriller cliches. Am I missing what makes the movie more than merely more of the same?

Oh, and also, as predicted: Cold War back on the big screen, baby! Shall we define this Trump-era resurgence of red stories as Neo Cold-War Cinema, marked — at least in its infancy — by villainy on both sides (a far-cry from the genre’s narrative jingoism during the 21st century), a morally-murky landscape where collateral innocents are stuck in the violent middle, often as unwitting pawns (AKA: it us) forced to play — and, potentially, outsmart? (AKA: it not us) — the international espionage game.

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