Expectations have no business in movie reviews, but occasionally, they cannot help but seep in. And filmmaking, for better or worse, is not made in a bubble, so in that regard, take the action drama, “Havoc” by acclaimed filmmaker Gareth Evans, known for the wildly kinetic “The Raid” series.
While the film stars Tom Hardy, and the collaboration between Evans and the “Mad Max: Fury Road” actor seems deeply tantalizing, “Havoc” was shot way back in 2021. And when a film sits on the shelf that long, it’s usually giving turkey.
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So, it’s a pleasant surprise that, while not Shakespeare or an Academy Award winner, naturally, “Havoc” is still a pretty good thrill ride of entertainment, especially when it comes to full-on sicko mode action which Evans provides plenty of.
Told in a kind of drip of information from the past while the present day thunders forward, Tom Hardy stars as Walker, a damaged detective fighting his way through a corrupt police system and a ruthless criminal underworld.
There’s one problem with Walker’s sense of morality and doing the right thing. He’s compromised and as crooked as they come, or was, at least. Part murder mystery, part action thriller and part redemption drama, “Havoc” begins with a grizzly murder. A triad boss’ son, Tsui, has been killed when a drug deal goes wrong.
Pinned for the murder is a local kid in the wrong place at the wrong time, Charlie Beaumont (Justin Cornwell), who just happens to be the son of Lawrence Beaumont (Forest Whitaker), a wealthy and corrupt businessman in the midst of a mayoral campaign he expects to win.
This web of dark deceits is further complicated by the mortal injury of a cop on a drug bust, and even though another black kid is involved, it’s Charlie who is on the police’s radar, too.
And therein lies the rub for Walker. One of their own, a friend and fellow officer, is hanging to life by a thread in a hospital. Still, Walker’s fellow corrupt cops Vincent (Timothy Olyphant), Jake (Richard Harrington), and a few other cronies know fully well that their buddy is in deep with Beaumont.
Already wracked with guilt and wanting out for his immoral crimes, Walker comes to Beaumont to strike a deal: he’ll save his son and get him to safety, and his deal with the devil is done and they’re square.
But it’s much more difficult than anyone would expect, as the Triad army, led by Tsui’s mother (Yeo Yann Yann), wants bloody and swift retribution. Essentially, the whole town wants Charlie dead; they’ll take his father, Lawrence, while they’re at it, and Walker is basically on his own, trying to get this kid and his girlfriend, Mia (Quelin Sepulveda), to safety.
Other members of the cast include the sharp beat cop Ellie (a stand-out Jessie Mei Li who we would love to see more of), Luis Guzmán as Mia’s uncle trying to get her fake passports so they can flee the country, and up-and-coming actors like Jim Caesar, Xelia Mendes-Jones, and Michelle Waterson as a deadly Triad assassin.
Yes, the “Havoc” story isn’t particularly inventive, feels familiar, and doesn’t break any new ground. And Hardy feels like he’s mumbling through the same Brooklyn-ish accent he applies to every American role he takes on. Still, “Havoc” manages to entertain thanks to Evans’ ridonkulously choreographed and batshit thrilling action sequences.
Some of them are basically animation too: a dangerously insane car chase sequence on a highway could never be safely shot as is without taking the lives of dozen of stunt men in the process, but Evans uses the virtual technology to his benefit to create a wild and crazy sequence that may not be practical, but is inventive af.
And that’s the case for basically every balletic and brutal action set-piece, the camera is always flying and moving around chaotically, the threat of death is a hair’s breath away with each stab attempt or shotgun blast, and Evans feels like he’s having a riotously entertaining time cinematically, which translates to the viewer.
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Mileage may vary for sure, the “Havoc” story may be seen as rote by some, but even the most cynical of critics who place a premium on story, character and emotion (me), won’t be able to contain their ear-to-ear smile when watching some of the gonzo and exaggerated insanity that Evans pulls off. Much like “The Raid” films that were thrilling to the hilt, ultra-violent, and super engaging, Evans could undoubtedly use a better writer.
He penned this one on his own, and he’s a much better action filmmaker than he is a screenwriter, so it would be great if he could at least enlist a sharp collaborator. As it is, Evans at least provides enjoyable pandemonium in “Havoc,” which is not a perfect film by any means, but certainly more worthy than some of the Netflix originals that aren’t delayed and are delivered at your streaming front door immediately. [B-]
