What’s It About
Levon Cade left his profession behind to live a simple life of working construction and spending time with his daughter. However, when his boss’s daughter vanishes, he’s called upon to use the skills that made him a legendary figure in the shadowy world of black ops. Levon’s hunt for the missing college student soon takes him to the heart of a sinister criminal conspiracy, creating a chain reaction that threatens his new way of life.
MOVIESinMO REVIEW
Some action movies try to reinvent the wheel. “A Working Man” doesn’t, and that’s precisely why it works so well. This Jason Statham vehicle follows the established rules of the action genre with confidence, delivering exactly what fans want while executing the familiar formula with undeniable skill. Statham plays Levon Cade, a construction foreman working for Garcia Family Construction. As with any good Statham character, Levon is a decent man trying to leave his violent past behind. He’s living a quiet life, dealing with a painful custody battle for his daughter Merry (Isla Gie) while working an honest job for the good-hearted Joe Garcia (Michael Peña) and his wife Carla (Noemi Gonzalez). The Garcia family has virtually taken Levon into their home, ensuring he eats healthy meals instead of only peanut butter and canned tuna. These little humanizing details set the character apart from being just another killing machine. Statham brings his signature calm intensity to the role, underplaying his emotions while still conveying a surprising range of feelings – particularly in scenes with his daughter where he navigates her complex emotions about her late mother. Of course, this peaceful existence can’t last. When the Garcias’ 19-year-old daughter Jenny (Arianna Rivas) disappears after a night out with friends, and the police fail to take the case seriously, Levon steps up. He promised Jenny he’d always have her back, and he’s not about to break his word – even when Joe offers him a fortune to find her. What follows is the expected journey through society’s underbelly, specifically a Russian crime organization with questionable fashion choices. Director David Ayer, in his second collaboration with Statham following “The Beekeeper,” creates genuine suspense despite the predictable path. Yes, we know Levon will prevail, but any moment could erupt into violence from any direction. Levon methodically tracks down increasingly important figures in the criminal hierarchy, starting with a drug-dealing bartender and working his way up to the lion-maned Dimi (Maximilian Osinski), a Russian playboy who’s brought shame on his family by engaging in human trafficking. Each encounter showcases Statham’s rugged fighting style and deadpan one-liners, including a memorable scene where he uses maple syrup “aggressively” in a pancake house. The villains follow another action staple – they just don’t know what they’re up against. Watching them learn the hard way never gets old, especially with Statham’s calm demeanor, making each takedown more satisfying. The Russian mobsters aren’t generic thugs either; they have their own secret bylaws and complex internal workings, including an on-hand cleaning service for body disposal. For comic relief, we get the profusely tattooed Viper (Emmett J Scanlan) and Artemis (Eve Mauro), confused henchpeople who pop up throughout the film. Mr. Broward (Kenneth Collard), an effete sadist who adds to the roster of baddies you’ll enjoy hating is not overlooked.My favorite aspect of the film is Jenny herself. She exhibits resourcefulness and self-preservation rather than previous examples of a damsel-in-distress simply waiting to be rescued. Jenny is a much-appreciated departure from an archetypal female character. The film also introduces Levon’s blind military friend Gunny (David Harbour), a kooky rancher who is off the grid and enjoys archery. He has the obligatory “room full of weapons” scene and provides a gimmicky tour of his impressive collection with an unexpected warmth. As the film goes on, the visual styling becomes more and more easily identifiable. A goth noir tone emerges with the Russians’ metallic tracksuits and bold plaid patterns standing out against night scenes featuring an impossibly large moon. A roadhouse fight set to Dropkick Murphys’ “The Boys are Back” delivers exactly the kind of energetic action sequence fans expect. The film isn’t without flaws. Set in Chicago, it features so many skyline shots they almost become comical. Geography is not always coherent, with Levon appearing to teleport from one neighborhood to the next. Certain subplots, apparently seeding for later sequels, are gratuitously tossed in. And certain scenes are overpowered by backlit, über-bright lighting that violates the laws of physics. But all these nitpick when the underlying charm is used so effectively. “A Working Man” understands why people watch Statham movies. There’s a blue-collar heroism about Levon that you connect with, especially as he battles Russian bad men in the American Midwest. When Dutch (Chidi Ajufo), the roadhouse manager, utters, “Look at them bricks! You’re not a cop. You’re a working man,” you feel it’s an ideal encapsulation of Statham’s appeal. The plot is straight-line, borrowed from Chuck Dixon’s book “Levon’s Case” by Sylvester Stallone and David Ayer, but it works: Statham wreaking havoc on those who deserve it. Whether he’s making a flophouse in the city his headquarters, pummeling a Russian villain in a luxurious mansion, or breaking elbows in a nowhere saloon, Statham never misses. “A Working Man” won’t set your expectations on their ear as to what is possible with the action picture genre. Instead, it honors them with efficiency and competence. It gives us an uncomplicated morality where goodness and badness can be immediately transformed into the satisfactions of being able to view justice performed with simple directness and an ordinary everyman hero to inspire our esteem, with attributes including diligence, adherence, and truthfulness. In a style where the formula is paramount, “A Working Man” works the formula and still manages to find ways to entertain. It’s a welcome addition to the Statham canon, delivering the slick sense of energy and righteous brutality that the audience craves. Like comfort food with a shot of something stronger, this movie hits a certain need – and sometimes that’s all you want.
OUR RATING – A BLUE-COLLAR 8