Charlie's Angels

The opening scene of Elizabeth Banks’ 2019 reboot of Charlie’s Angels features Kristen Stewart in a platinum blonde wig, wrapped in a pink silk dress, telling a wealthy criminal that women can do anything. It’s a mission statement delivered with a wink and a smirk, and it sets the tone for a film that was largely dismissed upon arrival but has since aged into a fascinating, glitter-dusted artifact of the late-2010s franchise machine. I recently rewatched this on a Tuesday afternoon while my cat was aggressively trying to eat a plastic grocery bag in the corner, and I found myself wondering: how did we collectively decide this movie was a disaster?

Released during a peak moment of "franchise fatigue" and amidst a messy cultural conversation about "woke" reboots, Charlie’s Angels (2019) never really stood a chance at the box office. It didn't help that the marketing made it look like a generic actioner, nor did the fact that Elizabeth Banks—who directed, wrote, produced, and starred as Boz—made some pre-release comments that the internet’s various outrage-industrial complexes didn't take kindly to. But stripped of the 2019 discourse, the film is a vibrant, occasionally clunky, but undeniably fun addition to the lineage.

The Stewart Revolution and the New Guard

The biggest shock of the film isn't the plot twist involving the Calisto energy source; it’s Kristen Stewart. For years, she was the poster child for indie-flick broodiness, but here, she is a revelation of comedic timing and physical agility. As Sabina Wilson, she’s basically a feral cat in a sequined tracksuit. She’s the heart of the movie, and her chemistry with Ella Balinska (Jane Kano) and Naomi Scott (Elena Houghlin) is the secret sauce that makes the whole thing hold together.

Ella Balinska, who came from the British series The Athena, brings a genuine physicality to the "muscle" role of the group. Unlike the wire-fu of the Lucy Liu or Cameron Diaz era, the action here feels a bit more grounded—well, as grounded as you can be when you’re jumping off exploding buildings in four-inch heels. Naomi Scott, fresh off Aladdin, plays the "civilian" who gets sucked into the world of international espionage. She’s our eyes and ears, and while her character arc is predictable, her transition from a panicked scientist to a gadget-wielding Angel is genuinely charming. It’s basically a high-budget Gap ad with more high-explosives and fewer sensible sweaters, and honestly, that’s exactly what I wanted from it.

Action, Style, and the Bosley Rank

Banks made the creative choice to turn "Bosley" from a specific person into a rank within the Townsend Agency. This allowed for the inclusion of Djimon Hounsou (the legendary actor from Gladiator) and Patrick Stewart (the man, the myth, the Star Trek captain) as various iterations of the handler role. Seeing Patrick Stewart transition from a paternal mentor to something much more complicated is one of the film’s weirder, more delightful turns.

From a production standpoint, the film leans heavily into the "Contemporary Cinema" aesthetic: high-saturation colors, rapid-fire editing, and a soundtrack curated by Ariana Grande that screams 2019. The costume design by Kym Barrett (who did the costumes for The Matrix) is a standout. The film treats its wardrobe as tactical equipment that just happens to be couture. There’s a sequence in a warehouse full of gadgets and disguises that feels like a love letter to the 1970s original series, even featuring a photo wall with cameos from Jaclyn Smith and the 2000s trio.

Interestingly, Elizabeth Banks was the first woman to ever direct a Charlie's Angels feature film. Apparently, she was adamant about removing the "male gaze" that defined the McG-directed entries. You won't find the slow-motion bikini hair flips here; instead, you get a scene where the Angels spend ten minutes discussing the best way to hack a high-security server while trying to avoid a silent assassin played by Jonathan Tucker. It turns out Jonathan Tucker did most of his own stunts, including a terrifyingly fast sprint that makes him look like a Terminator in a slim-fit suit.

The Cult of the Misfit Reboot

Why does this film deserve a second look? Because it’s a "cult classic" in the making for people who value chemistry over CGI perfection. The third act is a bit of a mess—the villain’s plan involves a generic "world-changing energy source" that we’ve seen in a dozen other movies—but the interplay between the leads saves it.

The film also packs some genuinely fun trivia for fans of the franchise history. For instance, the Rio opening was filmed on location with Kristen Stewart performing most of her own hand-to-hand choreography after weeks of intensive martial arts training. Also, look closely at the "Angel memorial" in the office; it’s filled with Easter eggs referencing the original 1976 TV show's history, including a subtle nod to the late Farrah Fawcett.

In an era of self-serious superhero epics, there is something refreshing about a movie that just wants to be a zesty, colorful spy romp. The film is an unapologetic sugar rush that knows exactly how ridiculous it is, and that self-awareness is its greatest strength. It’s not trying to redefine cinema; it’s trying to make you have a good time for two hours before you go back to your real life.

Ultimately, Charlie’s Angels (2019) is better than its box office receipts suggest. It’s a film that prioritizes sisterhood and style over gritty realism, and in our current moment of overly-dark blockbusters, its brightness is a welcome change. It might not have launched a ten-film cinematic universe, but it remains a fun, stylish, and fiercely energetic piece of modern popcorn cinema that earns its place on the shelf.