Directed by Elizabeth Banks
Written by Elizabeth Banks (screenplay), Evan Spilotopoulous and David Auburn (story) 
Starring Kristen Stewart, Naomi Scott, Ella Balnska, Elizabeth Banks and Patrick Stewart 
Running time 1 hour, 58 minutes
MPAA Rating PG-13

by Rosalie Kicks, Old Sport 

“Mo money, mo horses.”

Not sure what I am more surprised by: that a flick like Charlie’s Angels is coming out in mid-November or that it somehow managed to drop a Burt Lancaster reference. 

Blockbusters or popcorn flicks such as Charlie’s Angels are a type of movie that is expected to be released during the hot and hazy days of summer. Films commonly released in late fall and winter are more notably known for being Oscar Bait™. It is rare to have a reboot of a reboot of a reboot out at the same time as a biopic about a prolific person of interest or a based on a true flim flam jam. However, times are a changing people and I’m not just talking about the release dates of movies, it is the characters behind the movies that are different too. 

Unlike the previous installments of Charlie’s Angels, this is the first time ladies aren’t just in front of the camera but behind it as well. Elizabeth Banks writes, directs and co-stars as Bosley (also the first time a woman stars as the iconic character), the safety net for the Angels, in the latest edition of the Townsend Agency trio’s spy caper. 

I went into this flick with the lowest of low expectations, as in they were buried six feet under and stuffed inside a coffin. After the experience of the McG renditions, can you really blame me? With that said, I have found that, no matter who is making these flashy action style romps, they often turn out the same: instantly forgettable cinema that tends to fall in the category of low brow. Of course, fun is had along the way as the auteur will end up thrilling us with high speed chases whether it be boat, car, motorcycle or scooter (oh my), swirling camera sequences and catchy musical montages. There is always an enigmatic super villain that may or may not be mute. 

These movies also have a guarantee of an unnecessary, overly-complicated, twisty plot about futuristic computer stuff that won’t make even the darndest sense seven weeks from now due to technology’s rapidly changing landscape. This tale is no different, only the cast is. Even the eccentric snazzy silent character remains, only this time he possesses more of a Robert Patrick in Terminator 2, rather than the lanky Crispin Glover physique. This heel goes by The Assassin and uses a typewriter in plain sight at a coffee shop as a way to blend in with other patrons. Typewriters are realllllly loud guys. Believe me, I have used one, drove my doggo nutz. What I am trying to say is, the villains are almost always ridiculous. 

As for the story, it focuses on the Angels attempting to take down a corporate cover-up with the help of a whistleblower. Despite all of this phooey, Banks does manage to resuscitate this franchise and breathe much needed positive energy into the Angel trio. Kristen Stewart (Sabina), Naomi Scott (Elena) and Ella Balnska (Jane) come off as comfortable and confident in their roles and wardrobe selections. The women are not only portrayed as strong and competent, but are always several steps ahead of everyone, particularly the men. It was also nice to see Kristen Stewart being funny. I was struck by how much the cast really seemed to be having a good time while making this movie and I think that can be credited back to its director.  

The question is: Did I really need a two hour flick of this? Nah. The script doesn’t do the flick any favors, as there are several lulls throughout, mixed with some mediocrely shot action scenes. On a positive note, the movie does seem to improve over time, which made me question if it was shot sequentially. All aspects of the execution from comic timing to camera movement seemed to pick up and deliver in the second half of the flick. Even with the mishaps and flat story, though, the Banks’ version is still an improvement over the McG circus shows. 

This flick will in no way, shape or form make my best of 2019 list (also, I reallllly don’t like film lists), but I still find it to be historically significant. Elizabeth made an OK film, it is not great, but it is passable, most importantly, it continues to push open the door to give fellow females the opportunity to find themselves in the director’s chair for big budget Hollywood projects. Despite the run time being close to two hours, I have to admit it was nice to be able to blame my hardship on a woman filmmaker.