‘Havoc’ Review: Tom Hardy Dials the Ultra-Violence and the Body Count Way Up in Netflix’s High-Octane Action Thriller

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As a gamer, if you’re sensitive to gun sounds or graphic violence, be aware that the relentless barrage of bullets in the new Netflix action thriller “Havoc” might be overwhelming. However, if you enjoy intense, operatic violence with a splash of blood and slow-motion explosions, this gritty neo-noir will certainly appeal to you. It’s especially recommended for fans of Gareth Evans, the Welsh writer-director known for his mind-blowing Indonesian martial arts films, “The Raid” series.

From movies like Bronson, Inception, and The Dark Knight Rises, as well as Mad Max: Fury Road, Tom Hardy has often been involved in intense, visually striking violence. He demonstrates this prowess as the tormented detective Walker, whether he’s wielding a weapon, throwing punches, or using an object like a metal pipe or what appears to be a large fishing hook for combat.

A weary police officer, deeply cynical, finds himself in the heart of an anonymous city’s Chinatown, plagued by drug abuse and crime. This character perfectly fits within Hardy’s range of roles. His innate seriousness and imposing presence bring depth to the silent protagonist, who belongs to a cinematic lineage of disillusioned law enforcers, bitter about their work, corrupted, and abandoned by their partners.

Or, in a slightly shorter version:

A weary police officer, deeply cynical, navigates an anonymous city’s Chinatown, plagued by crime and drugs. This character fits within Hardy’s range of roles. His serious demeanor and imposing presence breathe life into the taciturn hero, who belongs to a lineage of disillusioned law enforcers, embittered by their work, corrupted, and abandoned by their partners.

Instead of Evans’ 2018 excursion into gothic folk horror titled Apostle, another Netflix production, the plotting, dialogue, and characters in his films typically take a backseat to intense action sequences. The characters here are generally typical or even stereotypical, and not all aspects of the story are thoroughly explained. However, it effectively delivers high-octane action scenes as its primary purpose.

In the opening narration, Walker ponders on decisions he’s made, trying to rationalize them for both himself and his loved ones – however, this strategy falters when a decision arises that cannot be explained or absolved. This fateful choice, which continues to haunt him, was made in haste during an unexpectedly chaotic drug raid. “It strips everything away,” he states. “Your family, your friends, even yourself. And all that remains are spectral apparitions.

The film immediately launches into a high-speed chase involving police cars chasing a stolen truck carrying washing machines, as they race through the city and onto the highway. A surprising method to escape a pursuing police car is to throw a washing machine at it. This daring move results in Cortez (Serhat Metin) being hospitalized in critical condition. Tensions between him and the rest of the narcotics team, who are now under the leadership of shady Vincent (Timothy Olyphant), are clearly strained.

Mia (played by Quelin Sepulveda) and her boyfriend Charlie (Justin Cornwell), who’s Lawrence Beaumont’s (Forest Whitaker’s character) son, took the truck. Lawrence is a property tycoon vying for mayor with a focus on reducing crime. Inside the truck was a substantial amount of cocaine that Mia and Charlie needed to transport to Tsui Fong’s (Jeremy Ang Jones), a young Triad boss in Chinatown, as part of their obligation to settle an outstanding debt.

As three heavily armed thugs clad in hockey masks, resembling something out of a horror movie, storm the location while firing assault rifles indiscriminately, leaving most of the people there dead except for Fong’s lieutenant, Ching (Sunny Pang). An urgent message, written in all caps, is sent to him: “WITHDRAW NOW.” In an intriguing narrative turn, we learn about the violence that unfolded when Walker and his new partner, Ellie (Jesse Mei Li), arrive on the scene to investigate.

Following the sighting of Charlie on a fuzzy border in a CCTV image, Walker alerts Lawrence that his son could potentially become a focus for reprisals from gangsters. This detective possesses questionable ties to a mayoral candidate. However, he manages to convince the D.A. to halt an investigation into Beaumont, signifying the end of their dealings. Nevertheless, Lawrence holds some power over the officer and wishes to mend his bond with Charlie.

The danger for Charlie and particularly Mia intensifies when Clarice, Fong’s formidable mother from Hong Kong, arrives. Clarice, portrayed by the nearly unrecognizable Yeo Yann Yann from Anthony Chen’s captivating domestic drama “Ilo Ilo“, is a crime matriarch of steel. She also brings along her own ruthless team, headed by an Assassin with lethal martial arts skills, played by MMA fighter Michelle Waterson with a fierce expression.

The situation becomes more dangerous for Charlie and Mia when Clarice, Fong’s tough mother from Hong Kong, arrives. She is played by Yeo Yann Yann from the film “Ilo Ilo“, and she brings her own group of ruthless people, led by a skilled Assassin portrayed by Michelle Waterson.

Although these characters might be familiar in some way, the fresh cast members bring a sense of liveliness to them. Li stands out as Ellie, initially overlooked by Walker and deemed unreliable on their case. However, she demonstrates immense resilience and resourcefulness, eventually earning his trust despite jeopardizing her own career. Similarly, Pang shares Waterson’s martial arts history, but he primarily operates from the sidelines as Ching, a cunning operative who plays both sides – flattering “Big Sister” Clarice while secretly colluding with corrupt cops.

As a gamer immersed in this captivating narrative, I find Whitaker’s character intriguingly straddles the line between the respected political figure and the unapologetically shady white-collar crook. Olyphant subtly suggests Vincent’s questionable professional ethics early on, which are later solidified in the climactic finale. And it’s always a pleasure to see Luis Guzmán as my character’s cunning Uncle Raul, whose scrapyard serves as a front for his hidden criminal activities.

In the thrilling continuation reminiscent of Evans’ prior cinematic works, there’s an exhilarating scene filled with violence and chaos that unfolds within a pulsating nightclub playing techno music, where the falling bodies seem to keep the rhythm. All factions eventually meet as Walker arranges a meeting with the cautious Mia, but this encounter is disrupted by corrupt cops before being challenged by successive waves of Chinese gangsters armed with guns and blades. This action-packed sequence bears resemblance to a blend of “The Raid” and “John Wick,” impressing with its relentless momentum and intricate fight and stunt coordination.

The key elements of the film, such as that particular scene, gain significant impact from Aria Prayogi’s intensely atmospheric score, which at times delves effectively into chilling Carpenter-style synth tones – these scenes are far more substantial than the movie’s narrative structure.

Few filmmakers match the intensity Evans delivers in the chaotic battle scene involving mass casualties. The director has openly cited influences such as John Boorman’s movie “Point Blank,” where Lee Marvin portrayed a character called Walker, and John Woo’s Hong Kong action films from the late ’80s and early ’90s, including “The Killer” and “Hard Boiled.

As a gamer, I’m thoroughly enjoying the intense scenario where the Assassin and her motorcycle gang surprise Beaumont in a traffic jam, all while Bing Crosby serenades us with “O Holy Night”. The climactic confrontation is nothing short of spectacular, giving Cornwell and Sepulveda their moment to shine as Walker hides Mia and Charlie at his father’s lakeside cabin. It feels like a condensed epic siege, packed with gunfire, swift slashing, and ultimately, brutal hand-to-hand combat.

Under Hardy’s capable navigation, Havoc understands its viewers’ preferences. It’s visually appealing, with Matt Flannery, the frequent cinematographer, skillfully maneuvering the cameras through the chaotic violence and layering the images with a rough texture and vivid hues. The backdrop is a city so dark and sleazy it appears to be perpetually shrouded in nightfall. Remarkably, most of these gritty environments were constructed in Cardiff, showcasing the talent of many unsung artisans residing in Wales.

If you’re seeking intense gore, brutal violence, and imaginative mayhem to get your heart pumping, this film certainly delivers on that front.

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2025-04-24 21:25