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.
A happy go lucky woman, she is exploited by slick computer virus scammers that promptly empty her bank accounts. . . including over two million she had stored for a charity that she was heading. Awakening the past in Clay, we soon learn that he is a former ‘Beekeeper’ – an independent fixer that works outside of government orders, keeping functional balance within the ‘hive’ that is the populous of the country.
Following the digital breadcrumbs, Clay heads out to dismantle this corrupt outfit, working from bottom to top. Where will this lead and how can it end? Will the beekeeper be able to pull a sting of his own, getting to the root of the problem?
Featuring a nice juxtaposition, the straight-faced Statham faces off against a group of zen, druggy hipster doofus Millenials, at the head, rich kid Derek Danforth (Josh Hutcherson). He himself is mismatched with his senior protector, Wallace Westwyld (Jeremy Irons), a former CIA director who has been tasked with white-washing his scandals and hiring his protection (and he gets paid handsomely for it).
Another intriguing side story finds Eloise’s daughter, Verona Parker (Emmy Raver-Lampman), an FBI Agent, working on this very case with her partner, Matt Wiley (Bobby Naderi) – the pair struggling with this complex conundrum. . . doing their job when in some ways, they agree with Clay’s form of rough justice. . . bringing to the forefront whether law or justice is more important. While we are on the topic of actors, it is also worth noting that Minnie Driver has a cameo – it’s always nice seeing her.
Taking itself seriously in many ways, the action is quite violent, and the topic is weighty. And it generally works, the only thing that really does not fit perfectly is Statham’s philosophical bee talk. It sounds like a British Bruce Lee has been given all kinds of bee-punnery and idioms, which comes across a bit silly in relation to the subject matter. Otherwise, this packs a fierce B-movie punch. . . an impressive feat when you consider its budget was a mere thirty-four million.
Continuing the trend of these B-style action movies having great success at the box office, The Beekeeper keeps its story taut, its action (often without firearms) tight, and its stakes high. Carrying with it a gritty anti-establishment vibe that was alive and well in the 1970s (think Dirty Harry, Walking Tall, Death Wish, Billy Jack. . .), it definitely goes to a place few would think early on in the story. . . perhaps allowing Statham to find himself in position for yet another possible sequel – he seems to be the sequel whisperer, with Fast and the Furious, The Expendables, The Transporter, Crank, The Mechanic, and The Meg already on his filmography. So, buzz off to see this unexpected hit, it might just be the queen bee’s knees (I assure you, this line is not in Statham’s dialogue).