by Andy Nowicki
We are often drawn by precisely that of which we are most afraid. Fear induces the production of adrenaline, which in turn operates as a powerful stimulant and pleasure-administer. In this sense it may be said that Red Sparrow, a thoroughly draining, yet quite perversely stimulating spy thriller, operates as a piece of simultaneous cinematic Russophobia and Russophilia, all in one paradoxical fell swoop.
