Name: Wingwomen
Genre: Action, Comedy, Drama
Released: 2023-11-01T00:00:00+00:00
Cast: Adèle Exarchopoulos, Mélanie Laurent, Manon Bresch, Isabelle Adjani, Philippe Katerine

The opening heist of Wingwomen is a burst of adrenaline—a tightly choreographed dance between Adèle Exarchopoulos’s Alex and Mélanie Laurent’s Carole as they move through a high-stakes job with the precision of seasoned professionals. It’s a moment that sets the tone for what could have been a thrilling blend of action, comedy, and drama, but one that the film never fully commits to. Directed by Laurent, who also stars, Wingwomen is based on the graphic novel La Grande Odalisque and released by Netflix in 2023. It’s a film that has potential, but it stumbles in its execution.

The story follows Alex and Carole, two thieves working for the enigmatic Godmother (Isabelle Adjani). When Carole decides to retire after learning she’s pregnant, the duo flees to a secret retreat, only to be hunted down by mercenaries sent by the Godmother. The film’s central conflict revolves around their decision to pull one last heist, bringing in Sam (Manon Bresch), a race car driver, as their getaway driver.

Exarchopoulos is the standout performer here. Her Alex is a volatile mix of anger and vulnerability, a character who has spent years on the run and is now grappling with the possibility of a normal life. Exarchopoulos brings a raw intensity to the role, making her emotional outbursts feel authentic rather than melodramatic. Laurent’s Carole balances that intensity with a grounded warmth, especially in scenes where she reveals her fears about motherhood and the future. The chemistry between Exarchopoulos and Laurent is the film’s strongest asset, anchoring it even when the script falters.

Bresch’s Sam is a welcome addition to the dynamic duo, but her character arc feels rushed. The film could have benefited from more exploration of her dynamic with Alex and Carole, especially as they navigate trust and loyalty. Instead, her role often feels sidelined in favor of the central duo’s drama. Philippe Katerine’s Abner and Félix Moati’s Clarence feel like afterthoughts, their roles underdeveloped and their presence disruptive rather than enhancing.

The film’s strongest moments come when it leans into its emotional core—the bond between Alex and Carole, the grief Sam carries as a recently widowed woman, and the tension of their final heist. The sequence where they execute the robbery is tightly choreographed, with Laurent’s direction keeping the pace brisk and the stakes high. However, the script stumbles when it tries to juggle humor and drama, often falling flat in its comedic beats.

Isabelle Adjani as the Godmother steals every scene she’s in, her presence commanding and menacing. Her confrontation with Laurent’s Carole crackles with tension, but it’s not enough to lift the film out of its midsection lull. The action sequences are well-staged, but they lack the visual flair that would elevate them beyond serviceable.

Thematically, Wingwomen explores themes of loyalty, redemption, and the struggle for freedom. Alex’s journey from a life of crime to a chance at normalcy is compelling, but the film struggles to balance its emotional weight with its comedic elements. The final act, where Carole sacrifices herself to ensure Alex’s freedom, is meant to be emotionally resonant, but it falls short due to the film’s uneven pacing and underdeveloped subplots.

Wingwomen has moments of brilliance—Exarchopoulos and Laurent’s chemistry, Adjani’s magnetic performance, and a few standout set pieces—but it’s held back by a script that can’t decide what kind of story it wants to tell. It’s a film that will appeal to fans of heist movies and character-driven dramas, but it lacks the consistency and depth to stand out in either genre.

In comparison to other films like Ocean’s 8 or Thelma & Louise, Wingwomen falls short in terms of pacing and emotional impact. While those films successfully blend action, comedy, and drama, Wingwomen struggles to find a balance between its tonal shifts.

Ultimately, Wingwomen is a film with strong performances and a compelling premise, but it’s let down by its uneven script and direction.