'Anna' (2019) – Luc Besson.

While oft said, rarely does the epithet of 'style over substance' fit so snugly than on action-maestro Luc Besson's neon-slinky, if somewhat spurious update of his game-changing 'Nikita', this time adding a Red Squared soupçon of 'Red Sparrow' to sensually spice up the gratuitously gun-smoked ragu! Happily said sublimely fleshly substance comes in the appetizingly flavoursome guise of skinprickingly sexy, sharp-shooting super-babe Sasha Luss who exquisitely eye-candies the hot-flushing phook out of 'Anna'! But, if like me, you have an insatiable fetish for hyper-violent actioners with lava-hot, fleet-fisted femme fatales laying bloody waste to all in a cathartic crimson squall of bellicose, bullet-shredded bloodshed, the formulaic plot will happily play a timorous second fiddle to the righteously flashy femme-led cinematic carnage! I absolutely adored it, but I'm a lifelong rabid sicko for unexpurgated 4G, baby! ('Gnarly Glamour Girl Gunplay'). I don't ever like to end on a bum note, but Éric Serra's so-so score simply didn't ring my bell, fortuitously, the marvellous supporting cast, gorgeous locations and operatic, whirlwind wicked, 'Wick'-stiffening slaughter in the bistro struck all the righteously noisome power chords.

'Divinely delivered death always looks better in 4G, baby! (Gnarly Glamour Girl Gunplay!)' - TerrorTarot / BuxomBloodfiends.