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Early in the new spy thriller Anna, the title character played by Sasha Luss is selling matroyshka dolls on the streets of Moscow, until a talent scout notices her beauty and whisks her away to Paris to begin a modeling career. Soon enough, she’s introduced to a cadre of similarly lanky, striking housemates, anyone who has seen the film’s trailer, or knows that it’s directed by Luc Besson, might reasonably expect that the modeling agency will turn out to be a cover for some kind of elite agency of gorgeous, deadly assassins.
That isn’t the case—though Anna herself is, indeed, a deadly assassin working for the KGB. Further details about her situation are filled in through the movie’s frequent flashbacks, and Anna isn’t really a movie about a model-turned-spy so much as it is a spy movie with a few modeling scenes to explain why its ass-kicker looks like, well, a supermodel. It’s a very ’90s conceit that Besson indulged all through that decade and beyond. La Femme Nikita, The Professional, The Fifth Element, and even Lucy all feature variations on this theme.
Continue reading ANNA plays like exactly the movie Luc Besson intended. That is to say: Yikes.