Ava

Directed by Tate Taylor, Ava follows Jessica Chastain’s title character, a fierce assassin with dozens of kills to her name, as she finds herself questioning her chosen profession amid a series of issues within her private life. Filmmaker Taylor, working from paint-by-numbers Matthew Newton’s screenplay, admittedly does a superb job of drawing the viewer into the proceedings right from the get-go, as Ava kicks off with a fairly engrossing sequence detailing Ava’s encounter with (and eventual execution of) Ioan Gruffudd’s seemingly pleasant businessman – with the movie, past that point, progressing into an exceedingly hit-and-miss midsection that’s all-too-often more miss than hit. It’s clear, ultimately, that the picture’s ongoing emphasis on its protagonist’s myriad of less-than-enthralling personal problems, including her alcoholism and her estranged relationship with her mother (Geena Davis’ Bobbi) and sister (Jess Weixler’s Judy), wreaks havoc on its tenuous momentum, as it becomes increasingly impossible to work up the slightest bit of interest in or enthusiasm for such digressions. (There’s an entire subplot revolving around Ava’s former lover and his gambling addiction that couldn’t possibly be less enthralling, for example.) There’s little doubt, then, that Ava’s somewhat watchable atmosphere is due entirely to its compelling action sequences and strong supporting performances, with, in terms of the latter, Colin Farrell’s often captivating turn as Ava’s boss’ boss smoothing over deficiencies within the narrative and ensuring that the movie is, in the end, more entertaining than it has any right to be.

**1/2 out of ****