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Awesome / The Man from U.N.C.L.E. (2015)

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  • While in Rome, Solo and Kuryakin are once again about to throw down when Gaby coolly smooths over the situation by reminding them of their actual mission which is to protect her and if that isn't more important than their pissing contest, she's prepared to walk away, right then and there.
  • After being insulted by Gaby's uncle, Illya tries to calm himself down by going to the men's room. Instead he runs into a group of snooty Italian men who mockingly tell him to go use the lady's room instead. Illya turns around as the Italians continue to laugh at him....and then he locks the door. And the smiles quickly fade away.
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  • 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 Illya 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 succeeds, but ends up completely fooling her (for the time being) and sleeping with her.
    • And before that, Victoria showing how clever 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.
  • The Storming the castle sequence, with Solo, Illya, and a company of Royal Marines quickly and efficiently taking apart the Vinciguerra henchmen.
    • Counts as a meta CMOA for Guy Ritchie who, in keeping with some of the subversions of the action film genre here, avoids dragging the Storming the Castle scene out for a padded gunfight, instead condensing it to give more weight to the chase sequence.
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  • The entire chase sequence following the siege, highlights include: Solo hydroplaning his ATV, Illya taking the literal direct route on a motorbike, and some seriously awesome music.
  • The two leads dispatching the central targets, in an appropriate manner respectively of course:
    • Illya hurling his motorcycle at Alexander to get him off of Solo, and killing him in close combat without breaking much a sweat.
    • Solo skillfully getting Victoria pissed off, which keeps her talking long enough to lock her in as a target for a missile launch.
  • The entire East Berlin segment gives the three leads their own.
    • Gaby proves she's no damsel by being a Badass Driver.
    • Solo manages to improvise an escape to the planned escape route after being compromised by the KGB.
    • And Kuryakin shows off his Genius Bruiser The Determinator 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).
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  • Waverly gets a massive one. 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 storm the castle and then when all is said and done, get command of UNCLE with the two agents working for him.
  • Uncle Rudi may be a monstrous psychopath, but one needs to admire how well-done and grandiose the scene of him torturing Solo is.
  • Until she grabs the Villain Ball at the end, Victoria is a terrifyingly strong antagonist. She's cunning, into Cutting the Knot, and doesn't believe in Bond Villain Stupidity.
  • On a meta level, Guy Ritchie and the screenwriters creating a Reconstruction of '60s spy-fi. Beyond the long-running Bond series and the Mission: Impossible 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 The Avengers (1998) and I Spy). And the Spy Fiction genre in general took a turn for the gritty with the 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 Spy Fiction, justifying elements like henchmen, fascist-leaning supervillains, and The Ace superspy idea, with Reality Ensues. The later is particularly explained in a Reality Ensues: 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.
  • 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.

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