Taking his cues from 1960s and '70s spy
movies, screenwriter Lem Dobbs, who also penned Soderbergh's well-
reviewed 1999 crime
drama “The Limey,” provides a slick, businesslike story that gets the job done without trying to rewrite the genre. Besides his interesting use of natural light and composer David Holmes' jazzy score, which is dropped in favor of the visceral sounds of fists and kicks landing during the fights, Soderbergh doesn't add many frills. For the most part, the lean thriller doesn't need them, but a bit of the charming humor of the director's “Ocean's Eleven” and its sequels would pleasantly warm the often-chilly proceedings.
But the refreshingly realistic action scenes are the movie's reason for being, and the filmmaker showcases them in long, steady tracking shots that are a welcome change from the usual furiously edited, computer-generated graphics-enhanced on-screen brawls. After all, Soderbergh isn't trying to convince us that some slender waif has the unlikely capabilities to take down full-grown men: He has Carano, who actually has the strength and skills to do just that, making her an action heroine worth watching.
Bonus features: Digital copy and two behind-the-scenes featurettes.
— Brandy McDonnell