The Union
Dustin Chase
With no James Bond or Mission Impossible this year, Netflix’s “The Union” hopes to feel the action void this summer’s end. “The Union” teams Oscar winner Halle Berry up with Oscar nominee Mark Wahlberg, combining their collective experience in the action genre. The plot and setup are the least important aspects of the story; the characters encounter a fight sequence at nearly every corridor, car chases, explosions, and lots of travel locations. Television Director Julian Farino’s (Giri/Haji, Ballers) experience with feature films extends only to what he has seen other movies do. It’s the Dr. Thunder imitation of Dr. Pepper: half the price, they are out of the good stuff, and you are already at the cheap store and don’t feel like making another stop. You press play and take what you can get.
Not much has changed with Mike McKenna (Wahlberg) since high school. He lives in the same house and has the same haircut, clothes, and friends. His life in Jersey is simple; he doesn’t want or need much, and everyone always knows where to find him. Opportunity walks into the bar dressed up like his ex-girlfriend from high school. Roxanne Hall (Berry) left for college and never came back. All these years later, she appears on a secret mission, working for a secret agency, and needs a nobody for a single operation. A global agency threat is underway, and Roxanne thinks her former flame, Mike has the right skills for the job. A quick two-week training session will test his limits, patience, and whether he wants stability back home or to add life-threatening excitement to his resume.
"The Union" can’t decide if it’s a sarcastic action comedy, serious espionage thriller, or some version of a bad Guy Ritchie movie.
Some of Wahlberg’s biggest financial successes as an actor occur when he plays the blue-collar, everyman type. Wahlberg didn’t build a career based on that stereotype, but he found it worked for him in low-effort movies. Berry calls back to X-Men for Roxanne’s hair and black leather fighting gear. She trades Catwoman’s whip for assault riffles as she slinks across rooftop buildings. Even Oscar winner J.K. Simmons (“Whiplash”), who doesn’t get near screen time, taps into his caustic character acting work. All marquee actors are operating far below their acting capabilities. The dialogue doesn’t make these reheated, and the leftover performances taste any better. “Mr. Big Shot on the big yacht, we can’t let that happen.”
“The Union” can’t decide if it’s a sarcastic action comedy, serious espionage thriller, or some version of a bad Guy Ritchie movie. It ends up nothing more than a C-grade highlight reel of scenes we have seen in other franchises. What might work for some are endless action sequences that at least stave off complete boredom. As bad as the writing is, the more fight, less talk approach might be a good thing. The editing concerning the stunt work is a bit on the lazy side. Too often, you can spot the stunt double when it’s supposed to be Berry. The final showdown that somehow turns into a fast and not-so-furious chase sequence is more of the same lackluster action we have settled into.
Final Thought
Momentarily compelling mediocrity and one of the least memorable action films this year.