Anna (2019)

Anna is the kind of slick, high-gloss spy thriller that reminds you why Luc Besson’s best work feels like a shot of adrenaline dressed in couture: it moves fast, looks terrific, and never stops trying to outsmart you. Sasha Luss has real star-making presence, selling both the icy composure and the simmering desperation of a woman clawing her way toward freedom, while Helen Mirren brings a cool, dangerous authority that sharpens every scene she’s in. The vibe is stylish and over-the-top in the most entertaining way—brisk action, sharp reversals, and that satisfying sense of a chess match played with bullets instead of pieces. If you’re allergic to heightened, twisty genre mechanics or the film’s strong violence and sexual content, it may not be your ride, but if you want a propulsive espionage fantasy with swagger to spare, Anna delivers.

Anna is clearly trying to deliver a slick, glossy Luc Besson-style assassin fantasy: a bruised underdog turned lethal, wrapped in fashion-world sheen and spy-game double-crosses. The problem is it often feels like a reheated remix of his earlier work, with a twisty flashback structure that’s more busy than clever and action beats that can look competent rather than thrilling. If you’re tired of familiar “beautiful killer” tropes or you’re sensitive to a slightly fetishized presentation of the heroine, this may grate more than it entertains. That said, Sasha Luss has presence, Helen Mirren brings some bite, and if you just want a stylish, brain-off thriller with a few satisfying set pieces, it can still pass the time.