The reboot has been a trend in Hollywood for the past few years.

Studios are pursuing popular franchises of the past and trying to bring them to new audiences. Some have been successful while others have completely proved ill-advised. Thankfully, Guy Ritchie's latest film "The Man from U.N.C.L.E.," based on the popular 1960's TV show, is a thrilling action film with lavish sets and beautifully mounted set pieces.

The film, starring Henry Cavill, Alicia Vikander, Armie Hammer and Elizabeth Debicki, tells the story of CIA agent Napoleon Solo and KGB operative Illya Kuryakin who join forces to take down a mysterious criminal organization working to create nuclear weapons.

Ritchie is known for his lavish action sequences and over-the-top violence that can sometimes be extremely vapid and incredibly frustrating. In this film, Ritchie tones down the slow motion and allows the action sequences to play out with his fast paced cutting and incredibly staged stunts. At some points he threatens to go overboard with five frames at once, but it rarely proves to be an indulgent distraction.

The film opens with a thrilling car sequence that is not only suspenseful but also playful due in part to the snazzy dialogue delivered with clarity by Cavill and Vikander. It is also heightened by the dark lighting and the mysterious Kuryakin, who is played with menacing touch by Hammer. While Ritchie cuts this scene with quick takes, he never turns to handheld camera and always makes it clear where the characters are and their interactions with the environments. He employs these same strategies for the ensuing action sequences.

Another memorable sequence in the film is during an escape when Kuryakin and Solo are trapped. While Kuryakin rides around in circles in a boat trying to escape, Solo sits in a deserted van eating and drinking wine. The sequence is light and undeniably hilarious in its comic timing with the calm nature of Cavill in the foreground juxtaposed with the chaos in the background. Only when the boat sinks does Ritchie bring the stakes up as Solo drives the truck into the ocean. However, based on the way the scene has played out, audiences know the characters will be okay.

The script itself is filled with lots of twists and turns and while it is very predictable, Ritchie knows how to keep the tone light and interesting, in part due to his cast. Henry Cavill was criticized for his brooding Superman but in this film his Solo is slick and charismatic. He uses his comic tricks to deliver each line with allure but he still figures a way to create an interesting and dynamic character.

Meanwhile, Armie Hammer is the heart of the film. While his Kuryakin has some funny moments, his character has a hard time controlling his emotions. Hammer shows this through his physical movements and his facial expressions.

Alicia Vikander never stoops down to the level of a femme fatale used to create sex appeal. While she is indeed dressed in attractive attire for the male gaze, she creates a complex Gaby with numerous issues. Like her other roles, Vikander's intelligence as an actress is not to bring out her sex appeal. It is to embrace her looks and create a complex and detailed role that will bring audiences in.

Elizabeth Debicki may be a stereotypical sexy villain but her portrayal of the appealing Victoria is smart, aggressive and seductive in every way.

The costumes by Joanna Johnston and sets by Oliver Scholl are astonishing to look at as they bring audiences back to the 1960s. Each detail is perfectly calculated, especially in the colorful attire by Johnston.

All in all, this is a fun summer movie that does not break new ground. However, unlike most summer movies and recent action movies trying to create deep and emotional themes, this film is only trying to create a fun and breezy flick to entertain audiences. In that aim, it undeniably succeeds.

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