Fifth about The Seventh

Ava (2020)

Ava: to say that Tate Taylor’s action film is completely generic is inaccurate; about half of his film deals with the main character’s domestic issues, which most action films try to avoid. Here, it’s dull and doesn’t inform anything worthwhile about the main character or any of the plot. The action half, however, now that is, in fact, generic (storyline, the main character and antagonist, aesthetics); not even using a lauded actress as the anchor of the film is new anymore (as a matter of fact, one of the supporting stars did this over two decades ago). Jessica Chastain is dependable and intense as usual, and she has the looks to pull-off the seductress side of her assassin; John Malkovich and Colin Farrell are OK as her handler/father figure and antagonist, respectively; Geena Davis and Common are weaker, disinterested. Bear McCreary’s electronic musical score is another particularly samey element of the film. The fight scenes are shot (by the cinematographer Stephen Goldblatt) and edited (by Zach Staenberg) as if the performers could not be trusted with all the action.

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