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The Man from U.N.C.L.E. (2015)

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In the early 1960s, CIA agent Napoleon Solo and KGB operative Illya Kuryakin participate in a joint mission against a mysterious criminal organization, which is working to proliferate nuclear weapons.

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Cast

Cast overview, first billed only:
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Dr. Udo Teller
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Oleg
Guy Williams ...
Captain Smith
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Desk Clerk
Julian Michael Deuster ...
Assistant
Andrea Cagliesi ...
Fishing Captain
Riccardo Calvanese ...
Man 2
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Storyline

In the 1960s with the Cold War in play, CIA agent Napoleon Solo successfully helps Gaby Teller defect to West Germany despite the intimidating opposition of KGB agent Illya Kuryakin. Later, all three unexpectedly find themselves working together in a joint mission to stop a private criminal organization from using Gaby's father's scientific expertise to construct their own nuclear bomb. Through clenched teeth and stylish poise, all three must find a way to cooperate for the sake of world peace, even as they each pursue their own agendas. Written by Kenneth Chisholm (kchishol@rogers.com)

Plot Summary | Plot Synopsis

Taglines:

Hugh Grant is the Intelligence See more »


Motion Picture Rating (MPAA)

Rated PG-13 for action violence, some suggestive content, and partial nudity | See all certifications »

Parents Guide:

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Details

Official Sites:

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Country:

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Language:

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Release Date:

14 August 2015 (USA)  »

Also Known As:

El agente de C.I.P.O.L.  »

Filming Locations:

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Box Office

Budget:

$75,000,000 (estimated)

Opening Weekend:

$3,199,543 (Russia) (16 August 2015)

Gross:

$45,445,109 (USA)
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Company Credits

Show detailed on  »

Technical Specs

Runtime:

Color:

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

Technically, the Abbey Road facility proved a treasure trove of the kinds of period equipment needed to achieve the specific sound the production was after. "We used every single bit of kit that has been kicking around there since the '60s that we could get our hands on," composer Daniel Pemberton said with all the enthusiasm of an archaeologist on a successful dig. "We used tape machines, old desks, even the building's echo chamber, which is how they created echoes before digital or even analog equipment. You'd send a microphone into a tiled room and there'd be a loudspeaker in there, and you would play the sound and record the echo in the room. We sourced some great period instruments, from vintage harpsichords to old basses and guitars, and worked with Sam Okell, their in-house 1960s genius who knows every bit of that gear from years of mixing and engineering Beatles re-masters. "It was all part of the process of creating a distinctive sound," he concluded. "Maybe the best way of describing it is, to sound new, we had to travel through time." See more »

Goofs

Kuryakin says that he is using a hand-held CO2 laser to cut the chain link fence. The CO2 laser was not invented until 1964. See more »

Quotes

Gaby Teller: America teaming up with Russia. That doesn't sound very friendly.
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Crazy Credits

The Warner Bros/Ritchie Wigram logos, opening credits and part of the closing credits appear in a red line containing 1960s documentation, which includes dossiers on the UNCLE crew. See more »


Soundtracks

Cry To Me
Written by Bert Berns
Performed by Solomon Burke
Licensed courtesy of Warner Music UK Ltd
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Frequently Asked Questions

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User Reviews

 
The Man from UNCLE is a spy comedy that Hammers out a Cavill-cade of Hugh-gely satisfying laughs
13 August 2015 | by (Canada) – See all my reviews

When I first saw the previews for Guy Ritche's latest film, "The Man from UNCLE" – a remake of the series of the same name – I decided to approach it fresh. So I avoided watching any of the adventures of Robert Vaughn's Napoleon Solo and David McCallum's Ilya Kuryakin.

I mean, to do otherwise just would not be fair, since my exposure to the original is limited to pop culture references. Why catch up to a show from decades ago only to rip apart the new one? Why give myself false nostalgia?

That said, I cannot tell you whether this is a faithful recreation of the original, a tasteful homage, or perhaps a complete bastardization.

However, I can say that, as a Guy Ritchie action-comedy, it works. The jabs at fictional representations of espionage are delivered with near perfect timing. Even the languishing takes meant to ridicule the tropes, stereotypes and clichés we have all come to see in every action spy thriller do not feel drawn out. All of Ritchie's trademarks are also there, from the diagetic sound that shifts to almost non-diagetic levels as the on screen action becomes a musical montage – a music video if you will – right down to the ubiquitous tongue in cheek, deadpan humour.

While I am sure the more eagle-eyed of viewers could play a game of "spot the anachronism" (that tube frame 4x4 in the previews, for instance), I would actually fault this movie as being too period. They seem to have cherry picked all the things people imagine as from the era. The result is that the clothes are just too chic, the set pieces too on the nose.

Then again, I guess that is the point: You are meant to fall in love with the aesthetics of that period as interpreted by Oliver Scholl's production design, and as captured by John Mathieson's cinematography. The fashion, the accessories... even the cars. Especially the cars! How could any depiction of the glamour of the sixties be complete without one Jaguar E Type? Also, watch out for the cameo of a $38 million Ferrari.

Even with the attention to detail "Mad Men" put into shattering any preconceived notions of the so-called swinging sixties, as well as CNN's "The Sixties" television documentary series' unflinching look at the social turmoil of those times, somehow I still wish I could have lived back then.

Or at least escape into the movie universe they have created.

Because in our world where terrorist groups are committing heinous acts of barbarity that would put any of UNCLE's supervillain enemies to shame, where spy thrillers like "Homeland" had to up the ante because reality is scarier than the fictional world they have created, where the James Bond 007 franchise lost its playfulness long ago and just keeps getting grittier and grittier, and where Donald Trump is the most popular US republican presidential aspirant, the Cold War and its Mutually Assured Destruction definitely seem worth pining for. I mean what is the mere threat of a few megatons of thermonuclear annihilation compared to the Donald?

The movie is cast satisfyingly well enough, with Armie Hammer's Ilya Kuryakin projecting a cold lethality that may have been a bit much. Luckily, this is a bickering buddy movie, where Henry Cavill's Napoleon Solo balances things out with borderline insufferable calm smoothness. For something with a bunch of Brits speaking in American accents, I am a bit surprised they toned down Gaby Teller's accent whenever the character speaks English – I'm sure the Swedish Alicia Vikander could lay an affectation of an East Berliner real thick.

In all, "The Man from UNCLE" is an enjoyable comedy and an escapist fare which just happens to be seemingly set in our past. I even rank it as a solid tale of espionage, with the end reminding me of Roger Moore as Bond, yelling to General Gogol, "That's détente comrade. I don't have it. You don't have it."


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