Directed by:
Antoine FuquaScreenplay:
Richard WenkCinematography:
Mauro FioreComposer:
Harry Gregson-WilliamsCast:
Denzel Washington, Marton Csokas, Chloë Grace Moretz, David Harbour, Haley Bennett, Bill Pullman, Melissa Leo, David Meunier, Alex Veadov, Vladimír Kulich (more)VOD (1)
Plots(1)
In The Equalizer, Denzel Washington plays McCall, a man who believes he has put his mysterious past behind him and dedicated himself to beginning a new, quiet life. But when McCall meets Teri (Chloë Grace Moretz), a young girl under the control of ultra-violent Russian gangsters, he can't stand idly by – he has to help her. Armed with hidden skills that allow him to serve vengeance against anyone who would brutalize the helpless, McCall comes out of his self-imposed retirement and finds his desire for justice reawakened. If someone has a problem, if the odds are stacked against them, if they have nowhere else to turn, McCall will help. He is The Equalizer. (Columbia Pictures US)
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Reviews (12)
A commercial for essential DIY tools in a well-fitting outfit by Antoine Fuqua. Denzel is cool again, even though he’s getting on for sixty, he’s still got it. Csokas is unusually precise and makes a respectable rival. The way the atmosphere is painted is textbook standard. The darkness is added to by the endeavor to punish the world. The intro is a little slow, but the ending good and bloody. And tracking down anything imaginable is super. Now, off to Walmart to buy yourself a hammer, a saw or a rivet gun.
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Denzel and dangerous DIY techniques, or also the prequel to Man on Fire, whose only fault is that Fuqua is not Scott. Thus, the slow building of the plot is rather annoyingly long (out of 135 minutes, about 20 minutes are horrendous) and the length of the slow-motion sequences is long beyond absurd. 3 ½.
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The Punisher: Hornbach Edition. The better the first half is, which holds back, relies on the characters and has a nice old-school trace, the worse the second is, because it ruins everything. In the second half, Denzel is just an invincible chimera that takes himself too seriously and that makes him an uninteresting character. Literally, the nail in the coffin is footage when, instead of uncompromising gradation, it fades away because of so many endings that even the Return of the King would get up and go home.
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Slower but all the more focused, subtly escalating and with a perfect performance by the main villain. Washington is approaching the position of an A-list Seagal and soon we’ll see a halo lighting up over his head. I was delighted with the character balance between him and Csokas, the dialogue, Bill Pullman’s small role, more blood than we are used to in Washington movies, and the closing music by Moby. Fuqua is back!
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After six long years and a second viewing, I have to raise my rating because this film starring Denzel Washington deserves every bit of praise it can get. Antoine Fuqua knew exactly why he cast this legendary actor in the lead role; Denzel delivers perhaps the best performance of his career, following Man on Fire and Training Day. His seemingly unassuming portrayal of an older, innocent-looking guy working at the warehouse completely dissolves when the film unleashes its first action scene, revealing what a top-notch professional Robert McCall truly is. The dialogues are among the sharpest in the genre recently, and you really savor the exchanges (especially between Denzel and Csokas). Martin Csokas stands out as one of the most terrifying villains of late; his expressions truly send chills down your spine at every turn. The action is impactful, unexpected, brutal, and above all, inventive (the finale at the warehouse with the fire sprinklers is one of the most effective scenes in recent years). Sure, it’s exaggerated, but the execution is so precise and perfect at its core that giving it less than five stars would be a grave injustice. For me, it’s a 9/10. P.S. One of the best soundtracks for action films; Harry Gregson-Williams has outdone himself again.
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