Havoc Review: Tom Hardy’s Action Movie Doesn’t Live Up To The Promised Chaos Of The Title

by

If a movie is titled “Havoc,” I would anticipate continuous violence from start to finish, given that it’s being produced by Gareth Evans, who is best known for “The Raid” films. These two Indonesian martial arts movies have significantly impacted the action genre over the past 15 years and might even be considered as influential as the escalating fight scenes in the “John Wick” series – though when Keanu Reeves’ character resorts to hand-to-hand combat, Evans’ style can still be perceived. The Eastern martial arts classics serve as a strong foundation, but Evans’ impact is evident too.

In his directorial comeback since Season 1 episodes of “Gangs of London” in 2020 and his last feature film “Apostle” in 2018, this movie marks a return to the intricately planned chaos that made him famous, on a much grander scale. He’s joined by an A-list actor known for surprising appearances at amateur jiu-jitsu competitions.

The movie retreads familiar ground

The movie, titled appropriately, does deliver on its promise, but falls short of expectations due to a sense that the director, who once redefined the genre, seems to be lagging behind and imitating the action trends popularized by his previous “Raid” films. A car chase sequence, similar to “Mad Max: Fury Road,” initiates the film, followed by numerous shoot-out scenes strikingly similar to those in the “John Wick” series, including a nightclub massacre bathed in neon lights and accompanied by loud EDM music. Gareth Evans is skilled at creating such intense sequences, but they lack the excitement found in more impactful instances of on-screen violence. It seems that the movie’s quality might be influenced by its streaming platform background; despite appearing polished compared to typical streamed films, it maintains a formulaic feel.

The movie is set in a dismal American city reminiscent of the futuristic, dark metropolises depicted in “Dark City.” In this role, Tom Hardy portrays Walker, a morose police officer whose personality perfectly fits the gloomy atmosphere. A cynic who detests the city’s rampant corruption, even though he is associated with many of its most nefarious figures, Walker’s life becomes entangled when politician Lawrence Beaumont (Forest Whittaker) enlists his help to locate his missing son, who appears to be caught up in shady underworld transactions. The plotline might seem commonplace, but it seems intentionally generic, with the director focusing more on creating confrontations among the city’s most sinister characters rather than delving into the gritty underbelly of the city. It appears that the set pieces were conceived first and the story was developed around them. While this approach isn’t always problematic, as some scenes, like Walker’s daydream of an operatic gangland massacre, are captivating and live up to the film’s title, it is the overt artificiality in their creation that makes the movie feel like a rehash of other contemporary, visually stylish action films, often appearing as mere decoration on an ordinary, generic crime story.

Fury Road”-inspired opening faded, as it became increasingly easy to notice flaws in the spectacle when there wasn’t enough compelling narrative to hold it together.

It doesn’t leave a lasting mark

In a contrasting opinion, I found myself feeling much more impressed by “The Raid 2” than many others. While the action sequences were undeniably some of the best fight scenes ever put on film, the extensive exploration into a complex criminal underworld plot seemed excessive and almost like unnecessary filler to me.

In his initial “Raid” film, Gareth Evans effectively used the martial arts-meets-“Die Hard” narrative, which left little room for deep reflection, making it all the more captivating. However, as he endeavors to widen his storytelling scope, I believe his films lose their impact, as he appears too enthralled with adhering to genre norms and fails to explore innovative ways of subverting them.

Regarding Evans, I must commend him for delivering a film in 2021 that doesn’t exhibit the usual signs of studio manipulation despite numerous delays in reshoots. His unique, unyielding style is evident, but this time with a more compact runtime compared to his previous action projects. However, my expectations were not met after watching it. It’s not that he lacks the ability to create ensemble crime stories involving multiple gangs; one of the best episodes from the AMC series he co-created showcases this skill effectively. The difference lies in the fact that his regular Director of Photography, Matt Flannery, who played a crucial role in transforming South Wales into an authentic American dystopia in “Havoc”, was also a co-writer for this project – a credit he hasn’t received on any other project. This collaboration seems to have been beneficial as it feels like Evans could benefit from working with other writers, as his fondness for explosive action often overshadows the development of well-crafted crime narratives.

Watching any of the action sequences in “Havoc” without considering their overall context could leave you exhilarated, albeit with a hint of familiarity. However, within the movie, these scenes don’t effectively rebuild tension following long stretches dedicated to a common crime conspiracy that’s challenging to engage with emotionally. Despite his skill as an action director, this film seems to play it too safe for my preference.

“Havoc” premieres on Netflix on April 25.

Read More

2025-04-24 21:33