Red One Review: Tepid Action Comedy Saved By Christmas Cheer

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As a lifelong gamer and action movie enthusiast who’s seen his fair share of blockbusters, I can confidently say that “Red One” is a mixed bag. On one hand, it has an intriguing concept with a serious tone that sets it apart from the usual holiday fare. Dwayne Johnson delivers a solid performance as Callum Drift, and the idea of him playing a gritty action hero instead of his usual charm-laden self is refreshing.

In a conversation with GQ, Dwayne “The Rock” Johnson discussed his work on the upcoming sports drama by Benny Safdie, “The Smashing Machine.” He mentioned that this project serves as an opportunity for him to explore more nuanced and profound material compared to his usual roles. Implicitly, it seems that he’s reached a point in his career where he wants to challenge himself further, possibly indicating a desire to diversify from the typical style of his films over the past two decades. Essentially, he appears eager to create something fresh and unique with the valuable screen time he provides audiences.

Significantly, “Red One” was created prior to its professional unveiling. Consequently, there’s nothing exceptionally innovative or captivating about it. In the period leading up to its premiere, a storyline emerged surrounding its substantial budget, Johnson’s supposed delay, and the presumption that it would inevitably flop. This negative outlook was further fueled by the fact that all promotional materials for the film seemed to depict the kind of dull, initial-release content from streaming services that audiences are growing accustomed to experiencing more frequently.

Instead of living up to the catastrophic expectations that some box office predictors had for “Red One”, it turns out to be just average. It functions well and offers occasional humor, but it fails to reach its full potential. Although there’s no pleasure in watching a massive failure, there’s not much to genuinely admire either. The few genuine emotions it evokes are frustrating because they’re buried so deeply within the movie.

Red One actually has a good concept

Under “Red One,” a solid base is laid for the house. The main plot revolves around Callum Drift (Dwayne Johnson), who oversees security for Santa Claus (J.K. Simmons). This upcoming Christmas, with just a few days remaining, marks his retirement from this position. He feels disillusioned about the world and takes Santa’s work too earnestly to skimp on his duties. However, when Santa gets abducted on Christmas Eve, he is determined to do whatever it takes to save the holiday celebration.

Initially, it might seem a bit cheesy, reminiscent of holiday movies on Hallmark, but the secret lies in its delivery. In “Jumanji: Welcome to the Jungle,” directors Jake Kasdan and Chris Morgan, known for his work in the “Fast & Furious” series, approach this storyline with an intense seriousness. The character Cal’s mission and overall plot are strikingly similar to Gerard Butler’s president-saving roles in the “Has Fallen” films, or many other hard-boiled action movies from the ’90s and early 2000s.

It’s refreshing to see Johnson playing his role seriously instead of leaning on his typical persona as a tough guy dad who is always ready for action and famous catchphrases. The humor in portraying a siege at the North Pole as if it were a terrorist attack is amusing, and sticking with this approach could have resulted in an action movie similar to “Elf,” where laughter comes from sincerity rather than sarcastic comments like those made by Ryan Reynolds.

However, the remainder of the film incorporates an excess of contrasting styles and moods, which makes it confusing. Chris Evans plays Jack O’Malley, a dual role as hacker-turned-reprobate who is simultaneously a negligent father and an atheist during the holiday season. He serves as a substitute for the buddy character that Kevin Hart often portrays, but his performance seems to echo some of the stereotypical roles Evans took on before joining the Marvel Cinematic Universe. In addition, Jack O’Malley is intended to be our gateway into this fantastical realm, but it appears that the movie could have done without a rugged anti-hero delivering humorous yet unamusing comments about the film’s absurdity. Instead, the absurdity is precisely what makes this film intriguing!

Introduce Lucy Liu as the leader of an agency handling mythical beings in the backdrop of a spin-off concept that will likely never materialize, along with numerous extended scenes offering decreasing entertainment value, and you’ve got a moderately engaging but ultimately average production, which had the potential to be something truly exceptional.

What could have been

Over the years, we’ve been treated to a variety of big-screen Santas, from the wholesome (Kurt Russell in “The Christmas Chronicles), to the badass (David Harbour in “Violent Night”), and the bewildering (Mel Gibson in “Fatman”). But it’s J.K. Simmons’ svelte, yoked Santa who feels the most exciting in ages. Initially, the Christmas kingdom he presides over is a hodgepodge of North Poles past, notably borrowing the most liberally from “The Santa Clause.” As it gets fleshed out in the first act, however, there’s something timely and honest about its extrapolation of a corporatized Christmas regime. Santa, with his snickerdoodle carb-loading and getting a pump in between checking his lists, more closely resembles grind-set billionaires like Jeff Bezos, with the storybook trappings of yuletide tales grafted onto the KPI’s and supply chain discussions of modern business. 

Instead of avoiding the dismal impact capitalism has on Christmas spirit, the movie showcases Santa Claus and his trusted sidekick as they face increasingly challenging tasks year after year, yet their objectives remain constant throughout centuries. Despite being overly sentimental or excessively earnest, Simmons and Dwayne Johnson excel in this production when they combat cynicism and a growing pallor worldwide with affection and cheer, reminding even the most misbehaved adults of the kind-hearted child within them.

Beneath layers of overused themes lies a heartwarming tale, which could have provided solace to viewers navigating challenging times. Regrettably, what we get is one of the most costly films ever produced, shrouding its profound and poignant essence in an excessive amount of mediocrity.

“Red One” dashes into theaters on November 15. 

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2024-11-13 21:00