stars Denzel Washington, Marton Csokas, David Harbour, Johnny Skourtis with Chloë Grace Moretz, Melissa Leo and Bill Pullman Directed by Antoine Fuqua Aside from saying that it’s based on the TV series, there is little to connect this movie to that beyond the title and the name of the lead character. This ultimately feels more like an extended pilot, trying to kick-off a potential franchise for Denzel Washington. Problem is that it feels like several other thrillers out there, and in Denzel’s case, it could very well be a prequel to Man on Fire (2004), with a few tweaks to the character. Despite that, this is a commendable effort with solid performances and a decent plot. Here, Robert McCall (Washington) is a man with a past and he has a very ordered life going on, but it’s clear that he’s simply existing, not living. He does seem haunted by a past, and he barely sleeps. It’s even pointed out by Teri (or Alina as she reveals her real name, played by Chloë Grace Moretz) that his eyes reflect his being as ‘lost’. While Ms Moretz presence within the movie is fairly minimal, her character is the catalyst that gives McCall a jolt of life; a purpose. What follows is an oddity of a plot because while what happens to Teri drives McCall to action, what follows is a detective thriller in reverse. What do I mean by that? You know those thrillers where the protagonist has a close friend or family member brutally murdered? The hero would investigate on his own, sometimes cutting a path of vengeance across the underworld of disposable baddies leading to the ultimate showdown. Here, we follow Marton Csokas’ ‘fixer’ as he tries to figure out who or what McCall is based on the damage he’s done to the Russian mobsters. This turn of events serves its purpose and keeps McCall’s character sufficiently intriguing throughout without giving away too much. It’s a rare case of maintaining the air of mystery around its lead character, Washington does well as you would expect an actor of his caliber. He clearly enjoys this role, the character’s little eccentricities, and most likely would reprise it given the opportunity. Csokas is sufficiently chilling as the force-of-nature antagonist, a very believable and dangerous nemesis for McCall. Moretz also excels even with the minimal material she has, clearly etching a full character that McCall would care for. There’s rarely a bum note among the rest of the supporting cast. Director Antoine Fuqua, who worked with Washington on Training Day, keeps the pacing deliberate and the action fairly kinetic. The final showdown in particular is a tense cat-and-mouse scenario that is well executed, particularly with the practical action set-pieces. There is little CG VFX on hand, with a particular reliance on practical effects. The music by Harry Gregson-WIlliams does much to drive the set-pieces and relay emotional beats although fans of the original will miss Stuart Copeland’s percussive theme of the TV show. In all, it is a decent thriller that, taken as it is, wouldn’t give you much to complain about. It would depend on what you would be expecting and if you’re a fan of the Edward Woodward version of the character. It is better than most thrillers delivered on a budget and ranks above the average direct-to-video or cable release. Rating ***1/2 / 5
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