“…oozes intrigue, sex appeal, and class with respect to both the decade the story takes place as well as the one we’re in.”

The summer of 2015 seems to be riddled with more remakes and reboots than original ideas. Sure, there are films that we loved to see on the big screen again (Mad Max: Fury Road, Jurassic World) as well as those we would have preferred just be left alone for entirely different reasons (Poltergeist, Fantastic 4). Perhaps screenwriters are just running out of ideas, or movie makers simply want to bank on the nostalgia of once-popular films and television series. Here, The Man from U.N.C.L.E. (directed by Guy Ritchie, 2015) breathes new life into the characters from the 1960s television show of the same name. Many of us could probably admit to never watching a single episode of the old series, like myself, so to remake something from so long ago is entirely unexpected yet simultaneously refreshing. The Man from U.N.C.L.E. oozes intrigue, sex appeal, and class with respect to both the decade the story takes place as well as the one we’re in.

Our story takes place in the 1960s during the Cold War, which pitted America against the Soviet Union soon after World War II. American CIA agent and former thief Napoleon Solo (played by Henry Cavill) has successfully completed his mission of acquiring Gaby (played by Alicia Vikander) and delivering her safely to West Germany. That is, no thanks to the beefy, nearly superhuman KGB agent Illya Kuryakin (played by Armie Hammer) nipping at his heels. Unfortunately for the two operatives, their brief encounter with one another was only the beginning. To their obvious disapproval, America and the Soviet Union, despite being enemies, have a shared interest in Gaby’s father whose scientific expertise has been utilized by a private criminal organization led by a steely woman named Victoria (played by Elizabeth Debicki) to construct its own nuclear bomb. The two agents couldn’t be more different. Solo’s knack for sleight of hand and his overall calm, cool, and collected demeanor make him an intelligent asset to his preferred team of one. Illya, on the other hand, is a large man with an unruly temper and the tendency to have psychological incidents. As impressive as the two men are on their own, despite their resistance and individual agendas, the pair become partners with the same mission in mind: stop the criminal organization from successfully completing and shipping the nuclear bomb.

Any movie with Hugh Grant in it is sure to have plenty of charm, and The Man from U.N.C.L.E. is absolutely one of those films. From the exquisite food to the refined fashion sense, there is the uncanny similarity to an early James Bond. Henry Cavill and Illya Kuryakin have fantastic chemistry, and the tense nature of their friends-for-now-but-enemies-later relationship is made clear through clenched jaws and the constant need to one-up each other. From technology to ability, the pair’s almost childish bravado is not only at the heart of the film, but it is also consistently humorous. Alicia Vikander’s character of Gaby was also an entertaining addition to the team. Despite being the initial target of Solo’s mission, Gaby is a self-sufficient, strong female character that could fix your car’s engine and kick your ass at the same time. That is a pleasant and modern aspect of the film that, other than technology, seems to be one of the few things that may take you out of that 1960s feel.

The techniques used in this film gave it a classic feel that took you back in time. It sets the scene historically with flashing news headlines and clips from momentous moments in time, but it does so much more than that. The music in the background, rich with reverbed guitars, pounding percussion, and soaring strings gives it that spy feel that effortlessly builds the drama. On top of that, the clever use of split screen and interesting transitions gives it that retro characteristic that not only adds to the sense of action, but it also strategically provides more information in less time. What I also appreciated about The Man from U.N.C.L.E. was that it retained that sense of poise throughout the entire film. Much like the 1960s, this film didn’t feel the need to include much of any gore or gratuitous sex (don’t worry, there is still sex, we just don’t need to watch every naked moment to know Napoleon Solo is good at what he does). For its ability to pleasantly surprise me with an adaptation of a television show I didn’t even know about while making it relevant to moviegoers of the 21st century, this one gets a 9/10 from me. It’s fun, frisky, and a well-acted period piece worth your time.