Movie Review | The Man From U.N.C.L.E. (2015)

I’m a big fan of Guy Ritchie’s action films. They have rhythm, style, and tension — and above all, they move like music.

The Man from U.N.C.L.E. is, at a glance, a classic agent action film — think 007 or Kingsman. It’s sleek, witty, and holds up relatively well in both plot and characters. But what sets it apart is how much care and craftsmanship Ritchie brings to every frame.

At the surface, it’s already a treat: razor-sharp costumes, elegant sets, charismatic actors — the kind of polished aesthetic that makes the viewing experience feel even somewhat luxurious for a commercial action production. And beyond the good-looking style, there’s a deeper layer of control: every shot, cut and movement has purpose. You never get a chaotic “grab-the-machine-gun-and-spray” moment just for the sake of action. And the conversations and cuts and camera poses are visual feast.

Watch the following short clip when Victoria (the villain boss) poisoned Solo (main character) while revealing the double agent in Solo’s team — while being extremely elegant. Like, it’s choreography:

Ritchie’s signature is in the editing and camera work — he’s a master of tempo and tension. One of his classical move is syncing action with great musical choices to create irony or levity or tension or story progression. One standout moment in this movie is during a high-speed chase unfolding in the background, while the camera lingers on a character peacefully eating a panini and sipping wine to a romantic Italian ballad:

Ritchie use music so well — he composes with it. His scenes often understands and utilize the logic of a score: build-up, release, counterpoint. See Sherlock Holmes: A Game of Shadows — another finely tuned, action-packed ride.

These films stand in sharp contrast to something like Fast & Furious or the later Transformers — which, while occasionally fun, often descend into mechanical overkill. 007 is better, but still in its recent productions, feels too heavy with action for action’s sake.

I think I admire Ritchie’s work for a kind of artistic ease — the confidence to be playful and not too serious. It’s like what Confucius said: “从心所欲而不逾矩” — to follow your heart without breaking the rules. You feel that in these films. They’re precise but relaxed, disciplined movie production, still being mischievous. That rare combination makes them deeply satisfying to watch.

Great action movie. Great filmmaking. Great fun.