Reboots continue to be a popular topic for major studios. What seems to be the common link is that the audiences are, by and large, aware of the property to some degree. So the idea of taking a 1960s TV series that ran for about  four seasons and essentially unknown to anyone over the age of 30 seems like something of a gamble. How is this mitigated? By giving it a director who's known for making slick, well-choreographed action thrillers and two reasonably recognisable actors.
et during the height of the Cold War, KGB Agent Illya Kuryakin (Armie Hammer) is sent to capture Gaby Teller (Alicia Vikander), the daughter of a former Nazi scientist who was previously working for the US. However, before Kuryakin can reach her, dashing CIA agent Napoleon Solo (Henry Cavill) gets there first. The next day, they're both informed that they need to work together as it emerges Teller's father has been forced to work for a billionaire diabolical genius who's building a new type of atomic bomb. From here, the film whizzes through the streets of Rome, opulent hotel rooms, '60s racetracks and even a giant aerospace lab that they've got to sneak into. Simply put, it's going through the tropes of classic spy romps.

he interplay between Hammer and Cavill is self-evident. The two easily bounce off one another and the antagonistic relationship between them serves to bolster the film's slower moments and allow for regular flourishes of comedy. Meanwhile, Vikander's brusk and brittle demeanour serves as a foil between Cavill and Hammer's well-heeled costumes and mannerisms. The relationship that eventually develops might seem a little half-baked, but the charisma on display more than makes up for it and you're carried along for the ride. Jared Harris' gruff CIA handler is seen here and there, however it's Hugh Grant's unflappable Britishness that adds a measure of gravitas to it all. Although he crops up as exposition, you get the sense he could have been used more fully throughout. Where the casting begins to falter is, sadly, in the villains. Inglorious Basterds' Sylvester Groth plays a sadistic Nazi interrogator gives a decent shout, but the central villain - Elizabeth Debicki - is very much underdeveloped. We don't even really know what their endgame is, beyond making an atomic bomb.
uy Ritchie was the perfect choice to direct something like this. While some find his overtly stylish, slickly edited style to be grating and flashy, here it's in perfect harmony with the breezy story and sexy surroundings. It's all glittering, early '60s style with a cracking soundtrack and some fantastic quips and one-liners. He hasn't lost his sense of humour about the material, fully realising that it's all a bit daft - but you can still enjoy the hell out of it. For the most part, The Man From UNCLE is an enjoyable romp that has more than enough going for it. The story might be a bit flat, but its endless charms will win you over.