In the same vein as other recent one man versus the world action films like Taken, The Equalizer, John Wick, and Nobody, 2024's The Beekeeper, directed by David Ayer, captures the same formula of stylish action combating rampant corruption that should appease fans of this style of flick. Following quiet man Adam Clay (Jason Statham), the retired gent spends all of his time as an apiarist – that is, a beekeeper. Renting space in a rural barn from a former teacher and avid charity worker, Eloise Parker (Phylicia Rashad), she is the first person to really show compassion and care for the reclusive renter.
Alfred Hitchcock once said "if it’s a good movie, the sound could go off and the audience would still have a perfectly clear idea of what was going on". A perfect example of this is the first sixteen minutes of the 1972 action film The Mechanic. Directed by Michael Winner and starring Charles Bronson (the pair, who had made one film previously, would go on to make a total of six together), the plot follows an aging hit-man in Los Angeles. The opening sixteen minutes is a masterclass in patience, restraint and telling a visual story, without any dialogue. We watch as the man, named Arthur Bishop, intricately plans his next kill. No dialogue is needed to make this an effective scene, as it captures a tense atmosphere and places us in the mind set of our lead, as we now know that he has a deft touch at killing and is not to be messed with. It is a bold choice to open a movie and it is all the richer for it.
A perfect case of ‘just when I thought I was out, they pull me back in’, John Wick: Chapter 2 starts off soon after the original feature. Starting with a video of Buster Keaton projected onto a New York City wall, Wick (Keanu Reeves) is like one of those silent film stars of the 1920s – though much more violent. A man of few words, he bumps, crashes and bangs his way through foes, a wandering ‘tramp’ with no true home, albeit, wealthier, better dressed and much more connected. Keaton, nicknamed "The Great Stone Face" has the same stoic demeanor as our protagonist – who, for the most part, plays things close to the vest.
Filmed with visual panache, Eran Creevy’s Welcome to the Punch gives London a cold, austere blue hue, helping depict a complicated, crime-filled world. Our lead is officer Max Lewinsky (James McAvoy), a man who is haunted by a mistake made in his past. Nearly catching notorious criminal Jacob Sternwood (Mark Strong), instead, he finds himself with a bullet in his leg and then reprimanded for disobeying orders. Now a shell of his former self, he has lost the fire that once drove him, trudging through life in a haze of pain and apathy. Paired with a partner, Sarah Hawks (Andrea Riseborough), who has the drive that he once had, she is constantly fighting his indifference.
A two part feature, Jean-François Richet’s action crime films Mesrine Part 1: Killer Instinct and Mesrine Part 2: Enemy #1 are best watched when paired together. That is why I am utilizing my dual review feature to discuss both here today. Together, running a little over four hours, the story looks at the life of real life figure Jacques Mesrine (Vincent Cassel) – brought to vivid life by the talented French actor, who is able to capture the man’s charm and Robin Hood (thief) appeal, as well as the scary side that bubbles just below the surface. From its very onset, we are drawn into the suspense-filled tale, as Richet utilizes a split screen effect (and sometimes more) to ratchet up the ominous foreboding. Resembling something from a Brian De Palma flick, it is an effective way to have us looking over our shoulder for some unknown threat. By the end of the sequence, we know the fate of our elusive figure and are transported back to learn the entire sordid tale. Part 1 spans the years 1959-1972.
Following in the footsteps of movies like the Taken franchise, Mel Gibson’s most recent film (I am sure some of you are surprised to hear that he has a new flick) is a formulaic, yet entertaining action thriller that hits the right spot. Titled Blood Father, the motion picture is directed by Jean-François Richet (who made the underrated remake of Assault on Precinct 13 and the sadly overlooked Mesrine movies) and starts with a young woman buying an abundance of ammunition at a superstore – enough that we know that she is up to no good. Her name is Lydia (Erin Moriarty) and she soon joins a gang of thuggish looking men in the car, with her being attached to their slimy leader Jonah (Diego Luna). A player in the cartel, he has a number of stash houses being run by ordinary looking people – one of which has stolen from him. In too deep, Lydia is forced to tag along, as she has also gypped them, though she denies it. After an egregious mistake, the girl flees, luckily escaping the group’s long, hard grasp.
With Jack Reacher: Never Go Back opening today, I thought this would be the perfect time to reflect on the original 2012 film. I am sure that most of you have heard the controversy revolving around it, with ardent fans of Lee Child’s ‘Jack Reacher’ novels being discouraged by the casting of Tom Cruise in the leading role. Much like an overzealous carny following the stringent rules and regulations of height restrictions on rides, book lovers were uninspired by the selection of the action superstar, as his five foot seven inch frame did not fit with the character’s description – at a gargantuan six foot five inches tall.