Charlie’s Angels (2000)

Remaking cults classics can be tricky, the elements that made the original shine often feel dated. Making adapting them for potential audiences particularly challenging. At the dawn of the millennium, the three famous femme fetales got a revamp into the 21st century, as they accepted the call, the call from Charlie that is.

Can’t think of any better choices for agents than Diaz, Barrymore, and Liu.

When the youthful C.E.O. of a hotshot tech company is kidnapped along with his ground-breaking software, Charlie sends his Angels to go track him down, On their hunt for the boss, the trio meets a cast of assassins and potential romantic partners, as they fight and seduce their way to solving this mystery. However, as details of the case further develop the semantics of who is right and who is wrong blur, and motives become revealed, everything is not as it seems.

The Angels are skilled in management philospohy, dressing sharply, and kicking ass… among other things.

Fans of the original show might be surprised by the rapid new change of the concept. While the original played it straight, the 2000s Angels showcase a more campy and comical side to international spying. The Angels seem like women who mix work and play as well as James Bond mixes his martini. While on spying missions they help each other score dates, dance, and giggle at jokes while retaining up-to-date knowledge on computers, racing cars, and Kung-Fu-Kick-Assery.  It’s charming to watch the down to earth side of these professional agents, while Diaz, Barrymore, and Liu all manage to feel truthful to the original Angels while feeling totally at home in the extended elements. The film also serves up lavish action sequences, underscored by the premier breakbeat, the Prodigy, and like Lost In Space, the theme song has also been updated with flashy drum and bass touches by Apollo 440.

I have yet to see a fight scene that hasn’t been made better with the inclusion of Drum and Bass.

In keeping with the new light-harted direction, comedy legends are used liberally throughout. Tim Curry has some great moments as a rival C.E.O and prime suspect, and Bosby (Charlie’s assistant from the show) is brought to life by Bill Murry and with is trademark mannerisms feeling right at home here, along with real-life love birds Tom Green and Drew Barrymore as Bad-ass Angel and insecure romantic partner to an Angel. But that’s not all, A young Sam Rockwell plays a tech C.E.O. that feels like he stepped out of the tech-gossip blogs of today, let alone twenty years ago. But props should also go to the Thin Man, with Crispin Glover giving the perfect audition if they ever made an Xcom movie and need an actor to play their Thin Man.

By pushing the creepy up to 11, The Thin Man becomes terrifying without saying a word.

With its tongue in its check and finger firmly on the trigger, Charlie’s Angels feels more than equipped to face the new millennium. Upping the action and the comedic antics all while letting three great actresses a chance to shine, one thing’s for certain, this film becomes more than a good morning for these Angels.

And Bobsy, can’t forget about Bobsy.

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