In Sicily, an Italian drug lord and his child arrive at a secluded villa in a jeep. The once idyllic courtyard is now scattered with the bloodied bodies of a goon army. The man steps out, armed with a pistol, while the child stays inside. Accompanied by a henchman, he enters the house and uncovers more lifeless bodies, each met with gruesome fates - riddled with bullets or their faces brutally cleaved. Noted hitman turned elusive figure, Robert McCall (played by Denzel Washington), finds himself beneath two gunmen. Is McCall the prisoner, or are they? With ease, he eliminates them, retrieving keys from the deceased drug lord's body - the very thing McCall came to obtain.
Get ready to be amazed by the seemingly ordinary package that McCall has fought tirelessly to obtain, even against an army of assassins. However, the importance of this package is ultimately insignificant. This gripping opening scene, with its intense violence and reliance on impractical effects, serves as a clear indication of the mistakes that have affected this once captivating and grounded action franchise.
Antoine Fuqua's "The Equalizer 3" is presumed to be the final installment in the franchise and marks the fifth collaboration between the director and Washington. While their initial collaboration, "Training Day," earned Washington a Best Actor accolade, their subsequent films have taken a harsher direction. What exactly does Washington gain from these films? This dynamic is reminiscent of Anthony Mann and Jimmy Stewart's collaboration, where Stewart departed from his wholesome image to explore darker narratives in Mann's Westerns. Similarly, Washington seems to derive satisfaction here, unconcerned if the audience shares in his daring experiences.
Because, make no mistake, “The Equalizer 3” is hot garbage. It’s also a fascinating but failed attempt by Fuqua and Washington to make their own Mann-Stewart film. Consider how the Western genre stains this picture. During McCall’s raid on the villa, he is critically wounded and eventually discovered by a local cop, Gio (Eugenio Mastrandrea), who takes him to a quaint seaside Italian village, where a local doctor named Enzo (Remo Girone) treats the hitman’s wounds. While recuperating in the restful town, McCall learns to love the people and the peace they provide him. Though a local young gang leader, Marco (Andrea Dodero), looms over them, McCall, who says he’s merely passing through, would rather avoid intervening. Like any Western, when push comes to shove, McCall will defend them while teaching these acquiescing people how to stand up to their oppressors.
In "The Equalizer 2," Fuqua and cinematographer Robert Richardson skillfully enhance the Western atmosphere with chiaroscuro lighting. Washington's silhouette evokes danger, while his weary demeanor hints at a profound connection to mortality. Richardson's use of extreme low angles, reminiscent of John Ford's signature style, creates heroic compositions. However, a challenge arises as they portray McCall as excessively ruthless, leaving us uncertain whether to support his violent actions. While it is logical for the character to exhibit greater brutality considering his transformation from a retired, composed individual in the first "Equalizer," the excessive bloodshed becomes overwhelming. Even Washington's exceptional talent cannot fully convey this transition, particularly when the script lacks strength.
In the primary subplot, Dakota Fanning reunites with Washington, her co-star from "Man on Fire." Fanning plays CIA Agent Emma Collins, who McCall contacts with a career-altering tip. However, the shift from call center to fieldwork feels unrealistic and lacks coherence. Collins' character arc falls short as she fails to establish herself as a competent agent. Furthermore, her involvement in a case related to an Italian drug ring barely intersects with McCall's experiences in the village. Fanning's performance, especially in scenes with Washington, appears strained as she struggles to capture the essence of Jessica Chastain's portrayal in "Zero Dark Thirty."
Unfortunately, the action falls short as the staging lacks creativity, the editing lacks energy, and the score feels uninspired. Instead of creating something memorable, the film relies on gore and brutality to distract from its lackluster choreography. The one redeeming aspect is Washington's apparent enjoyment in the role. He makes unconventional choices that initially seem like deleted scenes due to their randomness. Is he still portraying McCall as a grieving widower, or does he aim to push the character into psychopathic territory?
Comparing every action film to "John Wick" has become cliché and lazy. While the "John Wick" franchise has evolved, this trilogy, which debuted in the same year, struggles to do the same. It lacks emotional depth, a consistent narrative, and fails to fully embrace its genre. As a result, the offerings in "The Equalizer" franchise vary in quality and consistency.
Comments