--- title: "Haywire" year: 2011 kind: "film" canonical: "https://film.one/film/haywire" fi1m_id: "haywire" imdb_id: "tt1506999" tmdb_id: 70435 wikidata_id: "Q249350" fi1m_score: 74 critics_score: 65 critics_reviews: 18 published: "2026-09-09" updated: "2026-09-18T08:37:51.100156+00:00" region: "PL" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # Haywire (2011) Directed by Steven Soderbergh · 1h 33m · Action, Thriller, Drama ## Identity Haywire - **Canonical:** https://film.one/film/haywire - **Type:** Film - **Fi1m ID:** haywire - **IMDb ID:** tt1506999 - **TMDB ID:** 70435 - **Wikidata ID:** Q249350 - **Same entity:** https://www.imdb.com/title/tt1506999/, https://www.themoviedb.org/movie/70435, https://www.wikidata.org/wiki/Q249350 **Fi1m score: 74** · Critics 65 from 18 reviews *In a sentence:* Michael Fassbender loses a hotel-room fight in a good suit and the film is never better > Soderbergh strips a spy thriller down to a woman, a string of rooms and the men who underestimate her. The fights are hard, plain and superbly staged; the story between them is cool to the point of indifference, and so, at times, is its star. ## Synopsis Mallory Kane (Around Carano) works for a private firm that takes on the jobs governments prefer not to put their names to. We meet her in a diner in upstate New York, where a colleague, Aaron (Channing Tatum), has been sent to bring her in. She leaves instead with a bystander, Scott (Michael Angarano), and as he drives she tells him how she came to be hunted: a hostage extraction in Barcelona, then a second assignment in Dublin alongside another operative, Paul (Michael Fassbender), which does not go as briefed. Her employer Kenneth (Ewan McGregor), a government man called Coblenz (Michael Douglas) and a contact in Spain, Rodrigo (Antonio Banderas), all know more than they say. Bill Paxton plays her father. Steven Soderbergh directs, from a script by Lem Dobbs. ## Review Steven Soderbergh has made a spy thriller by taking things out of one. Mallory Kane (Around Carano) does the work governments would rather not sign for, and when we meet her she is in a diner in upstate New York, being asked to come quietly by a colleague, Aaron (Channing Tatum). She declines. She leaves with a young man called Scott (Michael Angarano) and tells him, as he drives, how it came to this: a hostage job in Barcelona, a second job in Dublin, and somewhere between the two a decision made about her by other people. Lem Dobbs’s script gives her little else and the film runs 93 minutes. Soderbergh shoots and edits it himself, and the fights are where the decisions show. He keeps the camera at a middle distance and lets the shot run, so we can see it is Carano doing this and that the man is, most of the time, losing. There is no music under any of it. David Holmes’s score, loping bass and brushed drums that sound lifted from a spy record of 1971, plays over the travelling and the talk and stops dead at the first blow, and what we hear instead is breath and furniture. The best of it is in a Dublin hotel room with Paul (Michael Fassbender), a fellow operative posing as her husband. Neither says a word. We winced, aloud, at the sound a head makes against a wall in a room with no music. Each city gets its own light. Barcelona is amber and hot, Dublin grey-green and wet, the New York of the framing story bleached white with snow. Howard Cummings gives Dublin a hotel of pale marble and long corridors that Mallory will need to get out of. When she runs across the rooftops Soderbergh hangs back on a long lens, so she is a small dark shape against slate. Shoshana Rubin puts her in a cocktail dress for the Dublin evening and then makes her fight in it, and the film is dry enough not to remark on this. Around Carano stand an unusual number of famous men, and the joke of the casting is that they are furniture. Ewan McGregor’s Kenneth, who runs the firm and used to share her bed, has the tight charm of a man who has already decided you are a cost. Michael Douglas’s Coblenz folds his arms and represents the government. Antonio Banderas’s Rodrigo wears a beard and says nothing to be trusted. Bill Paxton, as her father John, supplies the film’s only warmth in two brief scenes, and it is enough. Then there is Carano, a mixed martial artist rather than an actor. Some critics have said she cannot act, and we think that mis-describes what the film wants from her. She moves like someone who has been hit before and is not afraid of it, which no amount of training gives a performer, and she looks at men the way a mechanic looks at an engine. Her line readings are flat, as if she were saying the words for the second time. Soderbergh knows it, gives her little to say, and does the acting with the camera when she needs to be angry or afraid. The trouble is everything between the fights. The scenes in which Kenneth and Coblenz and Rodrigo work out who has sold whom are cool, brief and hard to care about, and the frame in Scott’s car is a device; Angarano is likeable and has nowhere to go. Around the hour mark there is a run of men in good coats saying names in offices, and we noticed we were waiting for the next fight rather than attending to the man on screen. We were not bored. We simply did not much care who had sold her, and the film does not seem to mind. Soderbergh has done this sort of thing with more feeling. [*Out of Sight*](https://film.one/film/out-of-sight) (1998), also scored by Holmes, and [*The Limey*](https://film.one/film/the-limey) (1999), also written by Dobbs, had people in them we minded about as well as shots we admired. *Haywire* has one person, and she is mostly kicking. See it for her and for the hotel room, and at 93 minutes it is over before the coolness starts to grate. It carries a 15, and the sound of that hotel room is most of the reason. *Fi1m score 74, published 9 September 2026.* ## What the critics say Most critics agree on where Haywire earns its keep: Gina Carano. The reviews praise her fight scenes almost without exception, noting that Soderbergh shoots them from a respectful distance, without wires or stunt doubles, and lets the raw sound of the blows do the work. Several also admire the lean approach, treating the film as an exercise in thriller technique rather than storytelling. The reservations cluster around everything between the fights. The plot is called thin, derivative or convoluted, and a number of critics find the film too cool for its own good, with Slant judging it aloof and inconsequential and Time Out finding the hi-def visuals flat and banal. The spread is wide: from strong approval at The AV Club and Collider to outright dismissal at The Times, which argues Soderbergh never taught Carano to act. Even admirers tend to wonder whether she can carry a role that asks for more than a kick. ## Straight answers **Is Haywire worth watching?** *Haywire* is worth watching for anyone who wants 93 minutes of plainly staged, hard-hitting fights, and we scored it 74. Gina Carano is convincing in the hitting and flat in the talking, and the spy plot between the rooms is cool to the point of indifference. See it for her and for the Dublin hotel-room fight with Michael Fassbender. **How long is Haywire, and what is it rated?** *Haywire* runs 1h 33m. It is an action and thriller film. **Where can I watch Haywire in Poland?** *Haywire* is not on any streaming or rental service in Poland at the moment. It is available in 18 other countries; change your country at the top of the page to see where. Availability is checked daily. **How violent or frightening is Haywire, and is it suitable for children?** *Haywire* carries a UK 15 and a US R, and the fights are the reason: they are shot without music, at a middle distance, so you hear every blow and the sound a head makes against a wall. There is no gore that the review remarks on, and nothing supernatural, but it is too hard and too realistic for children. Teenagers of fifteen and up who can take the impact will be fine. **How does Haywire compare to The Limey?** *Haywire* and [*The Limey*](https://film.one/film/the-limey) share Steven Soderbergh directing and Lem Dobbs writing, but *The Limey* is the one with a person in it you mind about. Terence Stamp's face carries a plain revenge plot and makes it far sadder than the genre needs; *Haywire* gives Gina Carano better fights and less to feel. Choose *Haywire* for the action and *The Limey* for the mood, and both are short. **What should I watch after Haywire?** After *Haywire*, try [*The Limey*](https://film.one/film/the-limey) (1999, Fi1m 80): Dobbs and Soderbergh again, with Terence Stamp doing the hitting and more to feel. Then [*Point Blank*](https://film.one/film/point-blank) (1967, Fi1m 84): Lee Marvin walks through rooms full of liars; the template for cool revenge; and [*Nikita*](https://film.one/film/nikita) (1990, Fi1m 76): Besson’s assassin drama has the same trained woman, more feeling, less restraint. ### Reviews we read (24) - **The AV Club**, Scott Tobias (A-): Soderbergh uses sophisticated trappings as a smokescreen for distilled lizard-brain entertainment built around Carano's athletic ass-kickings. The raw fight sounds and terse lead role make it bracing and satisfying action fare. [Read](https://www.avclub.com/haywire-1798171200) - **IndieWire**, James Rocchi (B+): Soderbergh crafts a stylish, smart action vacation with sharp kicks and effective genre play around Carano's breakout. The film balances visual flair and physical thrills without overreaching. [Read](https://www.indiewire.com/criticism/culture/review-steven-soderberghs-action-vacation-haywire-has-style-smarts-kicks-to-the-face-113852/) - **Screen Daily** (80/100, inferred): Soderbergh delivers a fun, uber-stylish action-thriller with kinetic fight scenes and a dazzling physical performance from Gina Carano that proves seductive despite a thin plot. [Read](https://www.screendaily.com/haywire/5034345.article) - **Total Film**, Kevin Harley (80/100, inferred): Gina Carano ably leads Steven Soderbergh’s revenge actioner with slick, muscular tag-team fights that deliver an agile drop-kick to doubts. The pared-back purity focuses on physicality and jazzy montage over story depth, proving effective with tough panache despite some limitations in range and emotion. [Read](https://www.gamesradar.com/haywire-review/) - **Empire**, Simon Crook (75/100, inferred): Soderbergh delivers a fresh, muscular payback movie with mischievous indie spirit, casting MMA fighter Gina Carano as a convincing action lead surrounded by star power. The film is great fun with well-choreographed, realistic fights and Soderbergh's signature style, though it stays a little too cool for maximum excitement. [Read](https://www.empireonline.com/movies/reviews/haywire-review/) - **Vulture** (75/100, inferred): Soderbergh's formula action-thriller is perfectly enjoyable thanks to Carano's arresting athletic presence and well-staged fights viewed from a respectful distance. Minor complaints about underenergized sections and lack of flashy payoffs do not detract from its appeal. [Read](https://www.vulture.com/2012/01/movie-review-the-vindictive-ex-girlfriend-project.html) - **The Guardian**, Peter Bradshaw (60/100, inferred): Gina Carano is crackingly good in the fight scenes, reminiscent of action queen Cynthia Rothrock, but the film is let down by boring moody location work between the action set pieces. [Read](https://www.theguardian.com/film/2012/jan/19/haywire-review) - **Slant Magazine**, R. Kurt Osenlund (2/4): Soderbergh's latest emphasizes visceral, un-sugarcoated fights but ultimately feels aloof and inconsequential, like Contagion. Stylistic choices and a lack of urgency prevent it from becoming essential viewing despite the novel lead. [Read](https://www.slantmagazine.com/film/haywire/) - **Little White Lies**, Adam Woodward (3/2/2): Soderbergh assembles a strong ensemble for a stylish but surprisingly lacklustre and formulaic thriller. The fight sequences stand out as cool yet ultimately tiresome and gimmicky. [Read](https://lwlies.com/reviews/haywire) - **Time Out**, Keith Uhlich (40/100, inferred): Soderbergh's action trifle lacks thrill and excitement despite Carano's presence; the director's disinterest is evident and the hi-def visuals render everything flat and banal. [Read](https://www.timeout.com/movies/haywire) - **The Times**, Kevin Maher (30/100, inferred): The clever idea of casting real MMA champion Gina Carano is gut-punched into idiocy by Soderbergh, who fails to teach her to act; the plot is derivative and the film feels flat. [Read](https://www.thetimes.com/article/haywire-qj88nk9t85b) - **Los Angeles Times**, Betsy Sharkey: The film is less a tightly plotted action thriller than an excuse to showcase Gina Carano's substantial fighting skills, which prove thoroughly entertaining and awe-inspiring. It falls short of Soderbergh's best work due to loose plotting and lack of tension. [Read](https://www.latimes.com/entertainment/la-xpm-2012-jan-20-la-et-haywire-20120120-story.html) - **The Hollywood Reporter**, Todd McCarthy: Soderbergh delivers an engaging action lark centered on Gina Carano's convincing physical performance as a covert operative who dominates her male co-stars in realistic fight scenes. The film succeeds as pure, unpretentious mayhem with strong fight choreography and a capable lead. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/haywire-film-review-258306/) - **The New Yorker**, Richard Brody: Soderbergh delivers a film of great style that delights in movement and physical action, sharing the adrenaline thrill of danger through tense, electric images. It conveys substance about professionals and government subcontractors via its visual aesthetic. [Read](https://www.newyorker.com/culture/richard-brody/haywire-and-its-haymakers) - **The New York Times**, A.O. Scott: The film is a cold and kinetic experiment in high-impact, low-concept genre filmmaking that prioritizes expertly choreographed action sequences over a preposterous plot. It showcases Gina Carano's debut effectively through its focus on physical confrontations. [Read](https://www.nytimes.com/2012/01/20/movies/steven-soderberghs-haywire-with-gina-carano-review.html) - **Variety**, Justin Chang: Soderbergh's action-filmmaking chops get a swift, vigorous workout in this lean, efficient exercise that pares down narrative in favor of pure thriller technique and Carano's athletic prowess. It is tossed off with sangfroid and dry humor, with fluid filmmaking as its main thrill. [Read](https://variety.com/2011/film/markets-festivals/haywire-1117946530/) - **Collider**, Matt Goldberg (A-): The critic praises Soderbergh's thoughtful approach to the action genre by centering a skilled female fighter, highlighting how the film challenges perceptions of violence against women while delivering exciting, realistic fight scenes. [Read](https://collider.com/haywire-review/) - **HeyUGuys**, Craig Skinner (4/5): The critic praises the film's stylish action sequences and Carano's physical performance, noting it's smart, stylish, and well-crafted with jaw-dropping set pieces. They highlight the fight choreography and subtle character moments. [Read](https://www.heyuguys.com/haywire-review/) - **NME**, Owen Nicholls (75/100, inferred): The review sees Haywire as a stylish, enjoyable diversion from Soderbergh with strong genre touches and a memorable lead. Gina Carano’s convincing physicality in the action sequences is highlighted as a standout element. [Read](https://www.nme.com/blogs/the-movies-blog/haywire-film-review-780033) - **The Wrap** (75/100, inferred): The critic finds Haywire an energetic action thriller that showcases Gina Carano's impressive fighting skills and physical presence, despite her limited acting experience. The film's plot serves mainly as a vehicle for exciting fight scenes and chases. [Read](https://www.thewrap.com/haywire-aint-kick-head-34576/) - **Den of Geek**, Duncan Bowles (3/5): The critic finds Haywire disappointing as an action film due to its lack of structure, spectacle and emotional engagement. Gina Carano’s physical presence and fight scenes are singled out as the main source of appeal. [Read](https://www.denofgeek.com/movies/haywire-review/) - **/Film**, Germain Lussier (60/100, inferred): The review notes the fight scenes are entertaining and realistic, praises Soderbergh's direction for subtlety, but points out Carano's acting limitations compared to the cast; it's refreshing but not pulse-pounding. [Read](https://www.slashfilm.com/518415/haywire-review/) - **Eye for Film**, Amber Wilkinson (40/100, inferred): The critic finds the action strong thanks to Carano's physicality but criticizes the convoluted plot, pretentious flashbacks, and lack of emotional depth, calling it a brief kick for action fans but failing elsewhere. [Read](https://www.eyeforfilm.co.uk/review/haywire-film-review-by-amber-wilkinson) - **Paste**, Annlee Ellingson (7.5): The critic commends Soderbergh for crafting a realistic espionage thriller led by MMA fighter Gina Carano, noting the grounded action sequences without stunt doubles or wires, though questioning if Carano can handle more emotional roles. [Read](https://www.pastemagazine.com/movies/haywire) ## Details - **Director:** Steven Soderbergh - **Director:** Steven Soderbergh - **Writer:** Lem Dobbs - **Cinematography:** Steven Soderbergh - **Editor:** Steven Soderbergh - **Music:** David Holmes - **Production design:** Howard Cummings - **Costume design:** Shoshana Rubin - **Producer:** Ken Halsband, Gregory Jacobs - **Cast:** Gina Carano as Mallory Kane; Michael Fassbender as Paul; Channing Tatum as Aaron; Michael Douglas as Alex Coblenz; Antonio Banderas as Rodrigo; Ewan McGregor as Kenneth; Bill Paxton as John Kane; Michael Angarano as Scott - **Runtime:** 1h 33m - **Release (Poland):** 24 February 2012 - **Genres:** Action, Thriller, Drama - **Budget:** $23 million - **Box office:** $33 million - **Trailer:** https://www.youtube.com/watch?v=Og9dz4KNhJk ## Where to watch in Poland Not streaming, renting or buying in Poland at the last check. Also available in: AT, AU, CA, CH, DE, DK, ES, FI, FR, GB, IE, IN, IT, NO, NZ, SE, SG, US. Add `?region=XX` to this URL for another country. ## If you liked this - *The Limey* (1999), Fi1m 80: Dobbs and Soderbergh again, with Terence Stamp doing the hitting and more to feel. — [Fi1m page](https://film.one/film/the-limey.md) - *Point Blank* (1967), Fi1m 84: Lee Marvin walks through rooms full of liars; the template for cool revenge. — [Fi1m page](https://film.one/film/point-blank.md) - *Nikita* (1990), Fi1m 76: Besson’s assassin drama has the same trained woman, more feeling, less restraint. — [Fi1m page](https://film.one/film/nikita.md) - *Yes, Madam!* (1985): Michelle Yeoh and Cynthia Rothrock hit people for real, and the camera keeps up. - *Atomic Blonde* (2017): Charlize Theron’s stairwell fight is the closest anyone has come to that hotel room. --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/haywire