Run All Night review

Run All Night (15/R, 114 mins)
Director: Jaume Collet-Serra
★ ★ ★ ☆ ☆

There’s something to be admired about the ambition of this thumping thriller that looks on paper like another delivery from the Liam Neeson action assembly line. Playing a much more interesting character than he often has recently, Neeson works as a hitman for neighbourhood mobster and long-time friend Ed Harris. When Harris’s wayward son botches a deal, Neeson is forced to kill him, in turn forcing him and his own estranged son to go on the run. It’s muscular stuff, featuring the standard punch-chase-shoot shenanigans, and every bit as daft as you could hope for. It may be called Run All Night, but it’s not quite as non-stop as the title suggests, with quite a few diversions along the way to slow the pace. Still, that offers some moments for reflection between Harris and Neeson, and a good deal more character depth than expected, even if it does borrow its plot points liberally from Road to Perdition. Neeson still has a particular set of skills, this time with some substance to back it up, topped off with a fun cameo from the only actor in the world even more grizzled than he is.

The Equalizer review

The Equalizer (15/R, 132 mins)
Director: Antoine Fuqua
★ ★ ★ ☆ ☆

Shave half an hour off this sporadically fun but often flabby thriller and you might well have the lean and mean action machine it ought to be, instead of the overegged, cheese-inflected pudding that it sometimes is. Based loosely on the old Edward Woodward TV show, Denzel Washington is Robert McCall, a seemingly saintly loner who works in a hardware store, never sleeps, and likes to help anyone and everyone. But it’s clear he’s hiding a mysterious past, and the catalyst for stirring this up is when a young girl (Chloe Grace Moretz) is beaten up by her pimp, taking McCall into a world of Russian mobsters who want him dead. A measured, deliberate opening is stretched to the point where we’re itching for the vengeance we know is coming, and when it does it’s certainly visceral and fleetingly satisfying. We’re signing up to see Washington battering everyone in sight, and even if too often all we see is the aftermath, he’s a monumental presence, dead-calm and dangerous as the silent protector. But there’s an awful lot of movie padded around these bones, and The Equalizer lumbers when it should sizzle and the finale, though at times exciting, borders on the interminable.

Gangster Squad review

Gangster Squad (15/R, 113 mins)
Director: Ruben Fleischer
★ ★ ★ ☆ ☆

Inspired by real events, this silly, intermittently enjoyable thriller takes place in Los Angeles in 1949, where mobster Mickey Cohen (Sean Penn) is hellbent on taking over the town with his drugs and vice empire. With most of the city’s cops on his payroll, it falls to honest sergeant John O'Mara (Josh Brolin) to lead Ryan Gosling and a small team in an effort to shut down Cohen’s operation through any means necessary. Strong in its period detailing and festooned in wall-to-wall violence, Gangster Squad is slick enough, and yet the action sequences consistently remind you that you're not watching The Untouchables, as much as director Ruben Fleischer might want you to think you are. And all the muscular gunplay and smoky production design in the land can’t always overcome a sloppy script that ticks every box you might imagine it would. Gosling’s relationship with Cohen’s moll Grace (Emma Stone) aims for Bogart-Bacall cool, but the pair are unexpectedly and disappointingly lacking in heat, and their byplay comes up some way short, while the focus on that and Brolin’s family life means the rest of the squad (Anthony Mackie, Robert Patrick, Michael Peña, Giovanni Ribisi) barely register as characters. But a dead-eyed Penn is terrific, and when the action occasionally finds the bullseye, there’s just enough vibrant style to see it through.

Safe review

Safe (15/R, 94 mins)
Director: Boaz Yakin
★ ★ ★ ★ ☆

In China, a young girl named Mei is discovered to be something of a maths expert. When the Triads cotton on to this, they take her to the States to use her brain to store the valuable information they’d rather not trust to a computer.

But they're in the middle of a turf war with their Russian counterparts in New York, and they'll stop at nothing to get their hands on Mei who is in possession of a code for a safe containing millions.

Meanwhile we meet Luke Wright (Jason Statham), a hard-as nails ex-cop getting by as a cage fighter. But he didn’t go down in the round he was supposed to and so the Russians killed his wife and he’s down on his luck and contemplating suicide when he saves Mei from the Russians.

Though it’s quite an extended setup before we get to the action, it puts Luke in a situation where the only way is up for him, as well as adding a much needed element of humanity to his classical protector role, with Statham at his least monolithic and most sympathetic.

But the reason anyone buys a ticket to something like this is to see Statham taking names, and though what follows is done with little grace, it’s muscular and pounding and unapologetic in its scale.

You know where you stand with a Jason Statham movie, and throwing him into a mix of gangsters and corrupt cops offers plenty of opportunity for ferocious action and fluidly orchestrated car chases. At times it seems it’s one man against the entire city, and the body count is enormous.

It does tail off a bit in the final stretch when it starts trying to provide too much plot, and a lot of stuff is either wrapped up too neatly or left hanging. But until then, as Luke dispatches unholy retribution by fist and gun, the wrath of the righteous is immensely satisfying.

Anuvahood review

Anuvahood (15, 89 mins)
Directors: Adam Deacon, Daniel Toland
★ ☆ ☆ ☆ ☆
One of the stars of Noel Clarke’s Kidulthood and Adulthood movies, Adam Deacon, co-writes, co-directs and stars in this abysmal British comedy as Kay, an unemployed layabout who fancies himself as an up-and-coming gangster after getting mixed up with some local drug dealers. If there is a plot, it’s well hidden within what amounts to little more than a series of YouTube sketches, with all the wit and sophistication that suggests. If it’s a parody of Clarke’s films, it fails to find anything in them to actually make fun of. When the dialogue isn’t unintelligible, which it mostly is, it’s juvenile and smeared in racism and homophobia, and with every performance amped up to absurd levels, the resultant screeching mess quickly becomes intolerable.

London Boulevard review

London Boulevard (18, 103 mins)
Director: William Monahan
★ ☆ ☆ ☆ ☆

London hard-man Mitchell (Colin Farrell) has just been released from prison when he is hired as a minder cum handyman for Charlotte (Keira Knightley), a world-famous but semi-retired actress. As a constant target for paparazzi, she lives practically as a recluse, and Mitchell divides his time between her home and trying to avoid the attentions of the local crime lord (Ray Winstone, naturally) who sees big things in him. This latter aspect provides passing interest in a very sub-Carlito’s Way manner, but when the screen is given over to the impossible to swallow romance between Mitchell and Charlotte, London Boulevard attains school play levels of badness. Whether it’s the dreadful dialogue, the complete lack of characterisation in their non-existent relationship or the amateur hour acting from an unusually stiff Knightley and deer-in-headlights Farrell, the result is less a movie than a flimsily connected patchwork of scenes, many of which look as though they were shot without the benefit of a director.