However, the film's underlying purpose, aside from a vague notion of justice, remains somewhat ambiguous. The Union lacks subtlety, particularly in its reliance on the star power of Wahlberg and Berry to mask a premise that feels questionable even by the standards of lighthearted capers. Berry’s character, Roxanne, is a long-serving operative for this low-profile federal agency comprised of blue-collar workers, which prides itself on its straightforward efficiency and looks down on the CIA for its elitist tendencies. The story begins with the Union facing turmoil after a mission to extract a CIA defector in Trieste goes wrong, resulting in the deaths of several agents, including Roxanne’s close partner, Nick Faraday (Mike Colter). For reasons that are quickly explained, a “nobody” is required to complete the mission, leading to the introduction of Wahlberg’s character, Mike, who happens to be Roxanne’s high school sweetheart.
Mike lives what Roxanne mockingly refers to as a “small” life in their familiar New Jersey hometown. He shares a home with his mother (Lorraine Bracco), maintains a close-knit friendship with his childhood pals, and works in construction. A recurring theme involves his recent fling with their seventh-grade English teacher. The screenplay, crafted by Joe Barton and David Guggenheim, effectively captures the essence of Roxanne and Mike’s relationship, but the film truly shines thanks to its lead actors. Wahlberg and Berry, who have been friends for over three decades (with nostalgic photos from the early '90s featured in the credits), exhibit a natural, warm chemistry from the outset. They convincingly portray two individuals who can still tease and charm each other, even after 25 years apart. Naturally, Mike agrees to be drugged and taken to London, participating in a potentially dangerous mission, all for the sake of staying by her side.
He is quickly drawn in by the union's spirit: the underdogs standing up against the wealthy and corrupt (including exaggerated Iranian terrorists, North Korean agents, Russian spies, and suave Londoners). As Simmons’s character, Director Brennan, puts it: “It’s about street smarts over book smarts. We’re blue-collar, not blue-blood. We’re the ones who build our cities and keep the production lines running. That’s who we are. We get things done because people like us have never had anything handed to us.”
The mission, though vaguely outlined, revolves around retrieving government intelligence on individuals who have served allied western nations, all stored in a humorous Deal or No Deal briefcase, in an effort to safeguard the public. The film's somewhat unclear class politics gives it a hint of pandering. However, it remains largely effective thanks to Simmons and Wahlberg, who excel at portraying relatable, charming characters, along with Berry, who shines as a highly skilled fighter grappling with her emotional challenges.
For most of its 1 hour and 47 minutes, The Union maintains an enjoyable pace filled with information, missions, action, and flirtation, despite some increasingly absurd plot twists and an extended car chase in Croatia. The atmosphere is light-hearted, the stunts are impressive, and thankfully, the film avoids the cheap aesthetics and dullness found in other Netflix offerings like The Man from Toronto or Lift.
The two stars frequently seem more like former lovers who have become friends rather than romantic partners. Spoiler alert: The Union belongs to the annoying group of films that tease audiences with the promise of a kiss but never deliver, possibly to save it for a sequel. Despite the impressive stunts, shattered glass, and high-octane action in The Union, I can't say it has enough substance for a follow-up, but it does manage to exceed some expectations.