Film Review: The Rhythm Section Finds Its Heartbeat In Blake Lively
Before seeing The Rhythm Section, I had read this fantastic article on Variety, which discussed female spies and where they fit in a world of James Bond. This, of course, comes after Barbara Broccoli made a valid point about not wanting a woman to be Bond as much as creating a new, equally, if not more powerful character, that is a woman. I thought of these points entering The Rhythm Section, which inspired me to really like the film and appreciate a female spy who uses the BIGGEST claim men make as to why women can’t rule, we are emotional, and makes it the very reason Stephanie Patrick (Blake Lively) rules.
Before I begin my love for Lively as Stephanie, I will put the ONE negative: the accent. I know that is petty, but it could be distracting, especially in the beginning, when you are getting to meet her character and might get stuck on “Where is she from, again?” Moreover, it, at times, cuts the emotional weight of a scene, but it was, particularly, noticeable because this film is Blake Lively pushing herself as an actress and thus breaking any conceptions of her. It is no secret she is stunning, and it is hard not to think of her as Serena from Gossip Girl. Yet, Lively CAN ACT, and she is very smart to never lose the essence of Stephanie’s cause to enter an underground world that is not calling for her and on countless occasions almost leaves her dead: losing your family can really make you lose your mind.
The Rhythm Section (2020) – New Trailer – Paramount Pictures
It is no secret that, this week, the world is mourning Kobe and everyone is contemplating the importance of family and how much weight we put on being with them every day. Such a thought lingered in my mind as Stephanie truly becomes an ENTIRELY different person to avenge her family. Are women emotional? Yes. Should we be emotional? Yes. Should we be emotional in a world that wrongs us and then takes our entire family from us? YOU DAMN RIGHT! Part of the intrigue of The Rhythm Section is that you can’t blame Stephanie for trying to find her family’s killers and, like in most cinematic tragedies, they have the flashbacks or scenes of recollection where Lively emotes the pure love she had for her family, her world, and who she was in a past life because, when a trauma occurs, you are never the same. Thus, Director Reed Morano and writer Mark Burnell are wise in showing scenes that have Lively shine in expressing depression and how knowing such darkness can truly make you become it.
I appreciated Lively’s performance, and how she carried the film, in that she embodied how a trauma makes you not only angry about losing your loved ones but also losing how light you were. She does a 180 as a person: going from a happy, young woman to an miserable addict to then vengeful spy with no skills but a LOT of tenacity. Stephanie is 100% a fish out of the water in every way when it comes the “spy” world and black market, but, because her motivations are so understandable and relatable, the audience can’t help put pull for her even if her arms is being pulled out by an assailant. Thus, no cool costume change, stunning, International locations, gun fight, or Jude Law encouragements is going make her feel better or, at least, less vengeful. Law is good as an ex- CIA operative helping her through by sharing his own woes with her, but, at the end of this film, it is Lively that completely captivates in showing how far utter break can push someone to get a semblance of healing.
The Rhythm Section Comes Out On January 31.
