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Should her intel prove valuable, it could lead them not only to Rayna but also to Sergio De Luca (Bobby Cannavale), a greasy-haired terrorist who’s trying to acquire the nuke for his own nefarious, loosely Al Qaeda-related reasons. Against the protests of surly agent Richard Ford ( Jason Statham, hilariously sending up his meathead persona), the Agency chief (Allison Janney) reluctantly agrees, though she forbids Susan to put herself in harm’s way and sends her to Paris on a basic track-and-report mission. It doesn’t help that she’s nursing a major unrequited crush on Fine, who, much like everyone else, looks at her and sees a single, middle-aged, overweight loner whose Agency career has probably already peaked.īut when Fine is suddenly assassinated by a haughty Bulgarian arms dealer named Rayna Boyanov ( Rose Byrne), who somehow knows the identities of all the CIA’s top operatives, Susan becomes determined to enter the field herself for the first time and avenge her partner’s death, arguing that she’s the only one who won’t be recognized. It’s a highly effective working relationship, albeit one that invariably leaves the hard-working Susan feeling more like a secretary or assistant than an equal, never mind that she has years of successful field training under her belt. His secret weapon, however, turns out to be Susan, who communicates with Fine via hidden earpiece, using all manner of high-tech surveillance equipment to maneuver him past every obstacle and enemy assailant.
#RATING ON THE MOVIE SPY SERIES#
The film opens with an extended combat sequence in Bulgaria, where a suave James Bond type named Bradley Fine ( Jude Law) blows away a series of thugs as he tries to locate a nuclear bomb. Put another way, it’s hard to think of another performer, male or female, who could leap onto a motorcycle and immediately topple over sideways, and pull off the gag with such fumbling precision - or is it precise fumbling? - that it can only be described as graceful.Īdmittedly, Susan Cooper (McCarthy), a fortysomething analyst stuck behind a desk in a vermin-ridden basement at CIA headquarters, doesn’t seem wired for action at first.
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To call it feminist would hardly be inaccurate, but it might risk diminishing the singularity of McCarthy’s achievement: It’s not every woman (and certainly not every man) who can juggle the often-conflicting priorities of action and comedy as skillfully as she does here. If “The Heat” (2013) placed its righteous gender politics front and center, pairing McCarthy with Sandra Bullock as a happy corrective to the male-dominated buddy-comedy tradition, then “Spy,” a vastly richer and more intricately conceived piece of work, succeeds in scoring a subtler representational coup. Unsurprisingly, her key collaborator here is once again Paul Feig, who directed her to such show-stopping effect in “Bridesmaids” and “The Heat,” and Fox’s June 5 release will more than earn its place in the company of those past summer hits. In “ Spy,” an uproarious blast of globe-trotting action-comedy delirium that doesn’t spoof the espionage-thriller genre so much as drop a series of banana peels in its path, McCarthy plays an eager-to-please desk jockey turned full-blown CIA operative who learns to wield a gun as skillfully as she does a one-liner - a dazzling transformation that represents the actress’s smartest, funniest, most versatile and fully sustained bigscreen showcase to date. All of which makes it even more gratifying to see what she can do with a vehicle that’s firing on all cylinders for a change. If recent misfires like “Tammy” and “Identity Thief” have proved anything, it’s that Melissa McCarthy is virtually indestructible, retaining her comic buoyancy, her tremendous likability and much of her fan base even when stuck with bargain-basement material.