Ruthless, bisexual and the coolest blonde, Broughton is a rock star from the moment she emerges on screen. The thumping '80s soundtrack swarms around her like she's its Killer Queen Bee, accenting her punches and gunshots with an orgasmic rush. The cinematography of Jonathan Sela and stunt co-ordination of Sam Hargrave and Domonkos Pardanyi creates a jaw-dropping dance, with Theron as its Fred Astaire, and the camera as her loyal Ginger Rogers, always in sync, always making her look marvelous, but in this case also phenomenally menacing. Then the costumes of Cindy Evans and hair stylings of Enzo Angileri combine to drape her in killer black-and-white ensembles, slinky red dresses dripping in glitter, and that acid-blond bob with bangs that hang like a threat. Living in a world of smoke and neon lights, she rises as a flawless figure of might and tenacity. Audiences will be helpless but to bow down, as "Atomic Blonde" has come to take your breathe away, and leave you giddy, gasping for more.

There's blood in her platinum blonde hair. In another film, it might be bright red against soft white, a symbol of stylized, sexy violence. Some kind of metaphor for virginity or the loss of innocence. There's nothing chic about it here, no thematic resonance. It's just matted brown blood in sweat-soaked hair hanging limply off a woman who brawled as if her life depended on it, because it did.

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