Storyline
Prima ballerina, Dominika Egorova faces a bleak and uncertain future after she suffers an injury that ends her career. She soon turns to Sparrow School, a secret intelligence service that trains exceptional young people to use their minds and bodies as weapons. Dominika emerges as the most dangerous Sparrow after completing the sadistic training process. As she comes to terms with her new abilities, she meets a CIA agent who tries to convince her that he is the only person she can trust.
Directors
Writers
Cast
Ciarán Hinds, Sebastian Hülk, Jennifer Lawrence, Jeremy Irons, Chris O'Hara, Joel Edgerton, Attila Árpa, Kristof Konrad, Charlotte Rampling, Mary-Louise Parker, Ingeborga Dapkūnaitė, Thekla Reuten, Joely Richardson, Sakina Jaffrey, Douglas Hodge, Bill Camp, Judit Viktor, Matthias Schoenaerts, Bálint Adorjáni, Sergej Onopko, Karen Gagnon, Joel de la Fuente, Louis Hofmann, Nicole O'Neill, Sergei Polunin, Simon Szabó, David Z. Miller, Sasha Frolova, Judit Rezes, Kata Pálfi, Zsolt Vicei, Anger Zsolt, Kincső Pethő
Trailer
Reviews
80
Lawrence, in this movie, shows you what true screen stardom is all about. She cues each scene to a different mood, leaving the audience in a dangling state of discovery. We’re on her side, but more than that we’re in her head. Even when (of course) we’re being played.
75
The elegance of Francis Lawrence’s direction, cinematographer Jo Willems’ measured camerawork, and James Newton Howard’s ominous score adheres to a familiar set of beats, but it’s the rare big Hollywood mood piece and mostly satisfying on those terms.
67
While Red Sparrow ultimately doesn’t earn its all-consuming, grueling dourness, there are a few thrills to be had, and following the best performance of her career last fall, it’s certainly another fearless step forward for Jennifer Lawrence.
63
Slant Magazine
The way that Dominika is at once completely transparent and at the same time impossible to read is Red Sparrow's most intriguing through line, not least of which for the way that Jennifer Lawrence makes you grasp the canny mental gymnastics that her character has to do in order for everything that she says to be at once truth and obfuscation.
63
And as much pleasure as one gets out of Lawrence’s stone-faced pairings with the formidable Irons, Schoenaerts and Rampling, her third act duet with the dazzling Parker (of “RED”) reminds us of what this one-dimensional “Sparrow” is lacking — the spark of life.
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