History Awesome / TheManfromUncle2015

* Solo managing to barely beat Victoria back to his hotel room to maintain his cover and avoid being killed. He barely succeeds, but ends up completely fooling her (for the time being) and [[CoitusEnsues sleeping with her.]]

** Illya [[spoiler: hurling his ''motorcycle'' at Alexander to get him off of Solo, and killing him in close combat without breaking much a sweat.]]
** Solo [[spoiler: skillfully getting Victoria pissed off, which keeps her talking long enough to lock her in as a target for a missile launch.]]

* Waverly gets a massive one. [[spoiler:After his plan to use Gaby to get to Professor Teller gets thrown for a loop, he manages to use the KGB and CIA to do the legwork for him, take command of their agents to [[StormingTheCastle storm the castle]] and then when all is said and done, get command of UNCLE with the two agents working for him.]]

** Counts as a meta CMOA for Creator/GuyRitchie who, in keeping with some of the subversions of the action film genre here, avoids dragging the StormingTheCastle scene out for a padded gunfight, instead condensing it to give more weight to the chase sequence.

** And Kuryakin shows off his GeniusBruiser TheDeterminator skills by keeping up with a speeding car, figuring out what his enemies are up to, and improvising ways to beat them (with a brief [[Heartwarming/TheManfromUncle2015 Heartwarming moment]] included, when the seemingly unstoppable Russian pursuer pauses and apologises to an elderly German lady for having to barge through her house during the chase).

* On a meta level, Guy Ritchie and the screenwriters creating a {{Reconstruction}} of '60s spy-fi. Beyond the long-running Bond series and the Film/MissionImpossible series (which itself has mostly stripped away its TV show roots), most modern adaptations of '60s spy shows have been played for camp and parody (such as Film/TheAvengers1998 and Film/ISpy). And the SpyFiction genre in general took a turn for the gritty with the [[Franchise/JasonBourne Bourne Series]]. Ritchie and co. stuck to the show's roots, keeping most of the elements instead of doing an in-name-only version, and went for the Dirty Martini style of SpyFiction, justifying elements like henchmen, fascist-leaning supervillains, and TheAce superspy idea, with RealityEnsues. The later is particularly explained in a RealityEnsues: The best agents in the KGB and CIA would be more than just assassins, being skilled in multiple fields, which is why they're the best.

* On a meta level, Guy Ritchie and the screenwriters creating a {{Reconstruction}} of '60s spy-fi. Beyond the long-running Bond series and the Film/MissionImpossible series (which itself has mostly stripped away its TV show roots), most modern adaptations of '60s spy shows have been played for camp and parody (such as Film/TheAvengers1998 and Film/ISpy). And the SpyFiction genre in general took a turn for the gritty with the [[Franchise/JasonBourne Bourne Series]]. Ritchie and co. stuck to the show's roots, keeping most of the elements instead of doing an in-name-only version, and went for the DirtyMartini style of SpyFiction, justifying elements like henchmen, fascist-leaning supervillains, and TheAce superspy idea, with RealityEnsues. The later is particularly explained in a RealityEnsues: The best agents in the KGB and CIA would be more than just assassins, being skilled in multiple fields, which is why they're the best.

* On a meta level, Guy Ritchie and the screenwriters creating a {{Reconstruction}} of '60s spy-fi. Beyond the long-running Bond series and the Film/MissionImpossible series (which itself has mostly stripped away its TV show roots), most modern adaptations of '60s spy shows have been played for camp and parody (such as Film/TheAvengers1998 and Film/ISpy). And the SpyFiction genre in general took a turn for the gritty with the Film/BourneSeries. Ritchie and co. stuck to the show's roots, keeping most of the elements instead of doing an in-name-only version, and went for the DirtyMartini style of SpyFiction, justifying elements like henchmen, fascist-leaning supervillains, and TheAce superspy idea, with RealityEnsues. The later is particularly explained in a RealityEnsues: The best agents in the KGB and CIA would be more than just assassins, being skilled in multiple fields, which is why they're the best.

* Until she grabs the VillainBall at the end, Victoria is a terrifyingly strong antagonist. She's DangerouslyGenreSavvy, into CuttingTheKnot, and doesn't believe in BondVillainStupidity.

** And before that, Victoria showing how DangerouslyGenreSavvy she is. A break in at her plant, and specifically the nuclear vault, is reported and she immediately suspects the charming foreigner who made a serious attempt to ingratiate himself into her world that day. She calls his room, gets no answer. So what does she do? She gets half a dozen henchmen and heads there immediately to kill him.

* Solo coming to Illya's aid by driving off a pier and onto a patrol boat, sinking it, then calmly sitting inside the truck until he spots Ilya drowning by using his headlights, and then bailing out to drag him out of the drink.
* Solo managing to barely beat Victoria back to his hotel room to maintain his cover and avoid being killed. He barely succeed, but ends up completely fooling her (for the time being) and [[CoitusEnsues sleeping with her.]]

* An offscreen example from a character we don't even see: Illya's father is apparently still alive after being in a gulag for over a decade. Being an unstoppable badass clearly runs in the family.

* An offscreen example of a character we don't even see -- the fact that Illya's father is apparently still alive after being in a gulag for over a decade would indicate that being an unstoppable badass runs in the family.

* On a meta level, Guy Ritchie and the screenwriters creating a {{Reconstruction}} of '60s spy-fi. Beyond the long-running Bond series and the Film/MissionImpossible series (which itself has mostly stripped away its TV show roots), most modern adaptations of '60s spy shows have been played for camp and parody (such as Film/TheAvengers1998 and Film/ISpy). And the SpyFiction genre in general took a turn for the gritty with the Film/BourneSeries. Ritchie and co. stuck to the show's roots, keeping most of the elements instead of doing an in-name-only version, and went for the DirtyMartini style of SpyFiction, justifying elements like henchmen, fascist-leaning supervillains, and TheAce superspy idea, with RealityEnsues. The later is particularly explained in a RealityEnsues: The best agents in the KGB and CIA would be more than just assassins, being skilled in multiple fields, which is why they're the best.

* Until she grabs the VillainBall at the end, Victoria is a terrifyingly strong antagonist. She's DangerouslyGenreSavvy, into CuttingTheKnot, and doesn't believe in BondVillainStupidity.

** And Kuryakin shows off his GeniusBruiser TheDeterminator skills by keeping up with a speeding car, figuring out what his enemies are up to, and improvising ways to beat them (with a brief {{Heartwarming}} moment included, when the seemingly unstoppable Russian pursuer pauses and apologises to an elderly German lady for having to barge through her house during the chase).

** And Kuryakin shows off his GeniusBruiser TheDeterminator skills by keeping up with a speeding car, figuring out what his enemies are up to, and improvising ways to beat them.

* Waverly gets a massive one. [[spoiler:After his plan to use Gaby to get to Professor Teller gets thrown for a loop, he manages to use the KGB and CIA to do the legwork for him, take command of their agents to [[StormingTheCastle storm the castle]] and then when all is said and done, get command of UNCLE with the two agents working for him.]]

** Counts as a meta CMoA for Creator/GuyRitchie who, in keeping with some of the subversions of the action film genre here, avoids dragging the StormingTheCastle scene out for a padded gunfight, instead condensing it to give more weight to the chase sequence.

** And Kuryakin shows off his GeniusBruiser TheDeterinator skills by keeping up with a speeding car, figuring out what his enemies are up to, and improvising ways to beat them.

** Solo [[spoiler: skillfully getting Victoria pissed off, which keeps her talking long enough to lock her in as a target for a missile launch.]]

* Solo coming to Ilya's aid by driving off a pier and onto a patrol boat, sinking it, then calmly sitting inside the truck until he spots Ilya drowning by using his headlights, and then bailing out to drag him out of the drink.
* The Storming the castle sequence, with Solo, Ilya, and a company of Royal Marines quickly and efficiently taking apart the Vinciguerra henchmen.

** Illya [[spoiler: hurling his ''motorcycle'' at Alexander to get him off of Solo, and killing him close combat without breaking much a sweat.]]

* The two leads taking dispatching the targets, in an appropriate manner:

* Solo coming to Ilya's aid by driving off a pier and onto a patrol boat, sinking it, then calmly sitting inside the truck until he spots Ilya drowning, and then bailing out to drag him out of the drink.
* The Storming the castle sequence, with Solo, Ilya, and a company of Royal Marines quickly and efficiently taking apart the Vinciguerra henchmen.