---

In a year already overflowing with stories about ex-agents being double-crossed by their government employers, “Haywire” shows everyone how it should be done: Sexy, seamlessly and sans stunt doubles.

Former Mixed Martial Arts fighter Gina Carano takes center stage here as Mallory Kane, a black-ops super soldier not opposed to kicking a little ass.

“Haywire” centers around the inevitable betrayal by her former lover and superior Kenneth Jay (Ewan McGregor) and her quest for that sweet, steely revenge that the audience knows she’ll get — and can’t wait to witness.

Kane is talked into one last mission before leaving Jay’s black-op company, to be eye candy for Agent Paul, played by Michael Fassbender in a disappointingly short cameo performance. Kane discovers the setup, kills Paul, and is eventually forced back to her father’s (Bill Paxton) mansion for the (apparent) final confrontation.

Director Steven Soderbergh (“Oceans 11” and “Contagion”) uses his cast beautifully. Neither Carano nor co-star Channing Tatum (“Dear John”) are known for their acting prowess, which is why their lines are kept to a minimum, and the dialogue is saved for the more experienced and well-spoken members of the cast like Michael Douglas and the silky smooth Antonio Banderas.

In scenes where the veteran actors aren’t present, Soderbergh doesn’t beat details into the audience’s head. Instead, he subtly uses his camera to let everyone figure it out for themselves.

If I had to lodge a complaint, it would be about the acting. In the few instances where Carano does speak, it’s flat, forced and faked — Soderbergh had her lines re-dubbed post-production, and they still aren’t convincing.

Her stoic face never shifts regardless of the situation, which doesn’t help the audience trying to follow all the double and triple crossing that is “Haywire’s” first 45 minutes.

But let’s be honest, nobody is seeing this movie for its stellar plot or spot on performances; they’re going for the action — easily the highlight of the movie.

Soderbergh drops the musical score (as it turns out, street fights don’t usually have a soundtrack) to bring attention to the intensely believable action.

As the brawls go on, the fighters get worn and ragged, eventually switching to submission moves as opposed to trading fists. In the one comical scene from the movie, Carano chokes an assailant on a bed with her thighs, leaving the males in the crowd wondering why they’re so jealous of a man who’s about to be shot in the head.
The action is paced with an ebb and flow that’s done to perfection, working at a natural rhythm that is missed by most movies.

While it won’t win any awards, praise should go out to the cast and crew for making a smart and crafty film that goes well beyond expectations. And if nothing else, Carano is building a strong case for sexiest femme fatale.

Watch your back, Jolie.