It’s no secret that Steven Soderbergh essentially just built a movie around MMA fighter Gina Carano because he caught one of her fights. While the backdrop of Haywire is seemingly a web of international intrigue, it’s actually pretty simple, and the director seems less interested in making a film so much as toying with action movie conventions, improvising like a jazz musician. It’s appropriate that the score employs various jazz tunes set during the non-fighting sequences (which have no music, and no enhanced fisticuff effects) and the music, like the movie, has moments that gel and moments that don’t.

While not a great film, it’s intriguing to watch Soderbergh riff, see the surprisingly all-star cast that surrounds Carano (Ewan McGregor, Michael Fassbender, Antonio Banderas, Bill Paxton, Michael Douglas) and realize that she stands her own in screen presence and acting chops. I’m certain we’ll see more from her.

As a black ops soldier seeking payback after being betrayed and set up, Carano plays Mallory, a woman so enigmatic she’s effectively a force of nature (albeit very human and fallible in Soderbergh’s steady hands). It’s hard to glean a lot from her stiff-lipped character in the narrative, but as we see a string of men get their comeuppance at the hands of this relentless woman, I realized there are very human reasons why they fall under her strong will, which make it intriguing as a character study less of Mallory and more of the men who misjudge her.

“You shouldn’t think of her as being a woman. That would be your first mistake.”

“This is a new war. And it’s only beginning.”

In a film that tonally hits closer to the first Resident Evil film than it’s Underworld predecessors, Awakening serves up non-stop action and holds true to the quote above; it is undeniably fun to watch, but there isn’t much plot to chew on as it merely establishes the landscape and effectively leaves us with a cliffhanger for more.

We’ve covered the previous entries in our reviews for Underworld, Evolution, and Rise of the Lycans with the moody, provocative themes explored in the original trilogy. This fourth film introduces a new season for our protagonist, new storyline and locale in the same way a new creative team might take over a comic book or television series; it’s the same character (Selene) operating in a new environment with a tweaked style. In comparison with the other films, it succeeds as an entry of equal caliber (unlike the fourth Resident Evil) but has so much action and establishing to do it doesn’t offer much in the way of plot. Although video games now offer far more complex storylines, this one follows the classic first-person shooter scenario, even with a “boss fight” at the end, not unlike last year’s Battle: Los Angeles.

You could choose between a leather-clad vampire or an MMA fighter to see women overturning evil government plots with guns, fists, teeth and plenty of action last weekend. This week, we’ll feature reviews of both Underworld: Awakening (Tuesday) and Haywire (Thursday).

This weekend, however, belongs entirely to Liam Neeson as he goes all Wolverine with travel-size bottles, taking on wolves and snow and, well, I guess nature itself in The Grey. Whether he’s wielding a lightsaber, ripping up Paris, training Batman or leading the A-Team, we just can’t seem to get enough of Liam Neeson kicking ass and taking names…