Haywire proves only one thing: a film needs more than realistic fight scenes to make an impression. For a picture so concerned with the bottom line -- making money at the box office -- it feels strangely closed off, out of touch with real world dynamics. The story could take place in any timeframe, such is the logic adopted by director Steven Soderbergh (Traffic). For instance, why does the government want to eliminate Mallory Kane (Gina Carano), a top assassin who has proven her loyalty countless times? This question sheds light on one of the film’s gaping crevices. Without clarification, there can be no hook. No hook, no story.   

Soderbergh seems gifted enough -- I enjoyed Traffic for at least two viewings -- but he shows remarkable disinterest in his characters or why they interact with each other in Haywire. Man of the moment Michael Fassbender (Shame) sticks his head through the door -- literally -- before becoming another casualty in the editing room. His function in the plot seems as clear as dense fog. When he fights Carano, a great deal of work can be seen. Clearly, there’s some intricate choreography on display here. Yet, the sparing use of context robs this encounter of significant emotional weight. As a result, it feels like a highlight within a very dim whole.

Some unwanted colour casts deprive the film of consistency in lighting. Using aliases, Soderbergh assumes the duties of both cameraman and editor. To have so much on his plate makes him lose objectivity to the extent that the visual language of Haywire re-treads earlier films on his CV, such as Che (2008).

It’s hard to get excited about a film in which the sole reason for its existence seems reliant upon beauty and violence. Carano looks pretty, acts without emotion and proves to be a tough cookie, who can handle herself fearlessly. It’s high time for action thrillers to show more guts. A good script helps but it can only do so much. Finding an original path to the unfamiliar should be the goal of most editors, cameramen and composers. Once again, Soderbergh’s disregard for matters of context, cause and effect and pacing stops his film in the snow. A fitting metaphor as one of the film’s least convincing chase scenes takes place in these conditions.

(Released by Relativity Media and rated "R" for some violence.)