Charlie’s Angels (2019)
I was born in 1970, so that made me just a bit too young to be the target demographic for Aaron Spelling’s original Charlie’s Angels TV series, which ran from 1976-1981. (As a young boy, I was far more interested in the exploits of Lee Majors as USAF Colonel Steve Austin, the Six Million Dollar Man.) So, I didn’t come into this latest Angels movie with any real baggage of the original TV show, or any real expectations short of hoping it would be an entertaining way to pass a couple of hours in my home theater.
And I think that is the right level of expectation to set going into the film.
Unlike the 2000 and 2003 Angels films directed by McG, which relied heavily on star power in the form of Drew Barrymore, Lucy Liu, and Cameron Diaz as the titular Angels, this movie tapped two far less known actresses to make up two-thirds of the Angel trio, with Elena Houghlin (Jasmine from Disney’s live-action Aladdin remake) as Elena Houghlin and TV actress Ella Balinska as Jane Kano. To bring some name recognition to the cast, we have Kristen Stewart as third Angel, Sabina Wilson, and Elizabeth Banks who also wrote the screenplay and directed the film, as Rebekah Bosley.
The film also managed to grab Sir Patrick Stewart as John Bosley and Djimon Hounsou as Edgar Bosley. (The movie explains that “Bosley” is more akin to a rank in the Townsend Agency akin to Lieutenant, rather than an actual name. So, I learned that.)
Almost from the first frame, this movie establishes its agenda and might as well throw up on the screen in huge neon pink letters, “WOMEN GOOD! MEN BAD!” When in doubt, assume that any male character is going to be bad, and that any female character will be a martial arts and weapon-master badass.
The film opens with Sabina on a penthouse date in Rio De Janeiro, with the very first lines of dialogue being her telling her date, “I think women can do anything,” with the man condescendingly replying, “Just because they can, doesn’t mean they should.”
Imagine the writers room erupting with an indignant, “Oh, no! He didn’t just say that!” and you’ve got a sense of this film’s message.
We learn scarcely little enough about Sabina (her name is Italian, but she’s not; she grew up rich and troubled, or did she?), Jane (former MI6 operative), or Rebekah (first Angel promoted to Bosley) to really know anything or care about them. All we really need to know is that they know how to fight, shoot, infiltrate, and get the upper-hand on any man they run across, all while looking beautiful, with perfect hair and clothing.
Originally this was intended as a reboot of the franchise, but instead it was decided it would be a continuation of the original TV series and McG-directed films. There is a brief scene near the beginning when John is retiring that we get a walk-down-memory-lane montage that briefly shows us the original Angels cast as well as Liu, Barrymore, and Diaz in an attempt to tie everything together. This is also where we learn that the Townsend Agency is worldwide, with branches—and Angels and Bosleys—arrayed around the globe to protect us from the shadows. Or something.
The film’s plot revolves around Calisto, the latest development of tech entrepreneur Alexander Brock’s (Sam Claflin) company that can bring cheap, limitless power to the planet. However, Calisto engineer and programmer Elena has discovered an exploit that can weaponize Calisto, turning it into an untraceable localized human-killing EMP device. After she brings this to the attention of her boss, Peter Fleming (Nat Faxon) and is rebuffed, she decides to tell an outsider, bringing in the Angels. The rest of the film is a global chase trying to recover all of the Calisto devices and keep them from being sold to a mysterious buyer.
The film’s soundtrack is driven by some major pop stars, including Ariana Grande (who co-produced the film’s soundtrack), Normani, Nicki Minaj, Miley Cyrus, and Lana Del Rey and the movie doesn’t miss any opportunities to cue up these tracks. In fact, sometimes the film seems like it’s just looking for the opportunity to jump to the next scene where it can set up another room-filling bass-driven pop song in some new exotic location such as Rio, London, LA, Berlin, Hamburg, Istanbul, or Chamonix.
As I said at the outset, going in with expectations low, and knowing this isn’t a movie you should over-analyze (like they just bring in Elena, this totally untrained civilian scientist, giving her access to an armory and top-secret gear, and effectively adopt her as a full-fledged member of their secret and highly trained team, immediately throwing her into harm’s way? But, she’s a woman, and—surprise!—also a master hacker, so of course she comes equipped with all these skills, so that makes total sense.)
Definitely watch through the first part of the end credits, which have some of the film’s most fun moments. Here we see Angels in a variety of training situations getting instruction from some cool cameos. We also get a reveal of who Charlie is.
While shot in a combination of 3.4 and 8K resolutions, this transfer is taken from a 2K digital intermediate, however don’t let that deter you. Sony definitely knows how to make an excellent-looking home video transfer, and this doesn’t disappoint.
Closeups reveal incredible levels of detail, showing the heavy application of makeup on some actress’ faces. We also get lots of textural detail in clothing and buildings, with images looking tack-sharp.
Images are incredibly clean and detailed throughout, regardless the lighting condition. There is one underwater scene with shades of blue that would give bandwidth-limited streaming services a fit, but here there is no hint of banding or anything else untoward. Blacks are also deep and noise-free.
HDR is used effectively throughout, giving images plenty of depth and punch. There are several dark interior scenes where stray lights deliver lots of pop, to nighttime exteriors like the opening nighttime scenes showing streetlights right off the ocean in Rio. Explosions also have a lot of punch and glowing reds and oranges that benefit from the wider color gamut. The scenes in the Chamonix castle look especially good, with bright glowing tube lights and the Angels’ sequin dresses shimmering iridescently.
Sonically, the film is a bit reserved for a big action movie. Explosions and gunshots have the appropriate weight and impact, but most of the audio seems to be spread across the front channels. The surrounds are called into play during the big action and chase scenes, with things being thrown around the room and
debris flying overhead, and music is mixed dynamically up into the front height channels to expand the soundstage. But I didn’t notice the usual sorts of ambient room and city sounds that normally breathe life into more developed soundtracks.
If you’ve read my review up to this point, you’re probably sensing a lot of negativity, and might assume that I hated Charlie’s Angels, but that isn’t the case. While I didn’t think Angels was necessarily a good movie—Ocean’s Eight was a far better and smarter female-buddy caper film—it isn’t a total stinker either.
And while I’m not generally a fan of Kristin Stewart and her typically one-note emotional range, she is actually quirky and funny here, and the most interesting Angel in my opinion. Plus, at 52% on the Rotten Tomatoes meter and with a 78% audience score it definitely won’t be the worst thing you’ll see this year, and it has its big action and chase moments that certainly play well in a home theater.
Probably the most experienced writer on custom installation in the industry, John Sciacca is
co-owner of Custom Theater & Audio in Murrells Inlet, South Carolina, & is known for his writing
for such publications as Residential Systems and Sound & Vision. Follow him on Twitter at
@SciaccaTweets and at johnsciacca.com.