Any movie star who can turn a third cartoonishly violent revenge movie into a pulpy trashterpiece like this deserves a medal
Oh, our man can pump up the volume when he needs to, in terms of letting people know he’s bringing the pain — our ears are still ringing from hisBut when he lowers his voice to a basso profundo rumble and he fixes that dead-eyed stare on someone, the one that suggests the unflappable, untouchable Teflon Denzel has officially entered the building, and issues some sort of oh-you’ve-stepped-in-it-now promise of bodily harm? It’s enough to make you laugh out...
movies understand that the fans of the 2014 action flick and its 2018 sequel come expecting those calm-before-the-Category-5-storm moments for just that rush. Hence,following a gangster as he winds his way past a dozen scattered corpses in a Sicilian winery. Several of his henchmen have their guns trained on Robert McCall, a.k.a. the ex-military intelligence officer who’s taken up “equalizing” as a hobby in his autumn years. The capo wants to know why his thugs are lying dead in the hallway.
Then he clicks the timer on his watch and tells this boss, in that near-whisper of his, that he has nine seconds to decide his fate. Before the timer goes off, McCall has disarmed one man, shot several others, and stuck the gun barrel in another’s eye socket. The gangster, it goes without saying, makes the wrong choice and soon, there’s one more body on the floor.
It’s an opening sequence that’s cartoonishly violent and so self-reflexively cool you can feel a chill coming off of it, and that combination — along with this movie star’s gajillion-watt charisma — has turned these films into slick populist hits. Never mind that this whole endeavor conceptually started as a big-screen adaptation of a CBS procedural from the Eighties starring Edward Woodward .
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