There are rules for a Jason Statham film, at least the ones that inhabit that subgenre of action film that he has carved out for himself. A WORKING MAN follows all of them all, because a formula that (usually) works is worth respecting. They include Mr. Statham playing a decent man longing for a quiet life after leaving behind a violent past (check); a strict code of honor that allows for vigilante justice for those who deserve it (check); possessing an unshakable loyalty to those he considers family (check); and a soft spot for one particular person (check).
This time out, he’s Levon Cade, is a retired British Marine currently working for Garcia Family Construction, run by the good-hearted Joe and Carla (Michael Pena and Noemi Gonzalez). He considers himself part of their family, and not just because they cook for him to prevent him living on peanut butter and canned tuna. He may not be in active combat anymore, but he is in a vicious custody battle for his daughter, Mered (Isla Gia) with the girl’s grandfather who blames Levon for his own daughter’s suicide. Yep, that’s the soft spot that allows us to enjoy the gentler side of a guy who, as is de rigeur in a film like this, can take out several criminals while literally tied hand and foot. It also explains why Levon is sleeping in his car. He’s saving up for the court fights to come. The bone of contention for Meredith’s custody is Levon’s diagnosis of PTSD and a putative brain injury that the courts have ruled make him an unsafe parent.
All that fades into the background when the Garcia’s 19-year-old daughter, Jenny (Arianna Rivas) disappears while partying with her friends and the police fail to take the case seriously. From there it’s the expected wild ride through the seamy underbelly of society, in this case a Russian gang with questionable sartorial choices. Levon will meticulously track down the people who nabbed Jenny, one indelible character at a time with each step along the way involving gunplay, brute force, and Statham’s signature preternatural calm. The man never raises his voice, but then he doesn’t need to. Starting with a charming bartender (David Witts) with a drug habit and sticky fingers, Levon tears a wide swath through that Russian gang led by Wolo Kolisnyk ( scenery chewing Jason Flemyng) before taking a detour with a drug-dealing motorcycle gang led by the gregarious Dutch (Chidi Ajufo), to the black sheep of the Russian’s family, the lion-maned Dimi (Maximilian Osinski), who has brought shame on his family for being mischievous enough to engage in human trafficking.
There is an internal logic here, perhaps, but that’s not important. This is not about showcasing Mr. Statham with trips to decadent clubs, seamy dives, and even a pancake house where Levon uses maple syrup aggressively. This is also about the characters who, following another rule of the Statham subgenre. They just don’t know what they’re up against. That they inevitably learn the hard way has a charm that never fades thanks to Mr. Statham and his calm intensity. He’s a man who does what needs to be done, and says what needs to be said, whether a quip to his latest opponent, questioning wardrobe choices (someone has to), or reassuring his daughter about her mixed feelings about her late mother. For a man who underplays his emotions, he still conveys a fine range of same, often serving as the proxy for what his audience is feeling, and giving them permission to explore the bloodthirsty side of their nature. The one that cause a disquieting inner conflict in the real word.
For comic relief we have the profusely tattooed Viper (Emmett J Scanlan) and Artemis (Eve Mauro), befuddled henchfolk who pop up everywhere, and Mr. Broward (Kenneth Collard), a dandified perv who prefers his “dates” asleep. For a delightful change-of-pace we have the kidnap victim who is far from being a weepy heap of despair. Jenny has initiative and a keen instinct for how to take care of herself. The word refreshing floats to mind. For heartwarming reassurance that the killing machine is a good guy, we have Levon’s burly old military buddy, Gunny (David Harbour), an eccentric blind man living off the grid with a fondness for archery and reminiscing about the past. He also provides that other action staple, the room brimming with weapons while adding a buoyant docent tour of same.
As the film progresses, the visuals become more stylized as the plot line boldly ventures into the surreal, sweeping us along as willing travelers. A goth noir tone prevails as the art direction catches up with fanciful metallic track suits and assertive plaids of the Russians. During night scenes, the moon is always full and taking up far more of the sky than the one in our world ever could.
Director Davd Ayer takes the Statham formula, the one where we know how things will turn out, and yet skillfully creates a constant suspense to the action. Yes, Levon will prevail, but any given moment could lead to violence, and from any direction. It makes A WORKING MAN a worthy addition to the Statham canon with its refined sense of dynamism and berserker devotion to giving the bad guys what they deserve.
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