Dub’s Take: The Beekeeper

A spoiler-free mini movie review.


There is something to be said for texture. You could have the most formulaic theme – like “the ex-super-soldier with a heart of gold” – and innovate it with unconventional dialogue, design, and direction, so long as it’s in service to the movie at-large. Screenwriter Kurt Wimmer’s latest crucible has so much texture that it’s a deliriously overcomplicated melting pot, with flavours of your January-variety Jason Statham release, a pseudo-political conspiracy thriller, a cautionary tale on fake virus alerts (really), and a parable about dispirited parenting, all under high-concept control from David Ayer.

The film derives the majority of its thrills from tense scenes of idiots in rooms minimizing the shit-storm they’re in with Statham’s anonymous vigilante. Ayer convincingly propulses the plot in these ‘quiet’ moments, and “Hunger Games” alum Josh Hutcherson puts his best foot forward as the film’s primary antagonist.

But we’re here for the boom-boom – as showcased in the film’s persuasive trailers, where Statham’s “1 2 3” gassing initially concluded that “The Beekeeper” would be a ratty good time in a month known for disenfranchised movie releases. Statham does indeed kill his way through baddies of increasing eccentricity, and the turbulent editing that dominated the theatrical version of Ayer’s “Suicide Squad” is gone here: every shot of Statham kicking a dude in the face is held just long enough for its impact to be felt by the viewer.

Bottom line: you already saw most of the boom-boom in the trailers. Slower moments – including an implied romantic history & a family connection, which serve as beleaguering texture – could have been cut for pacing. The increasing tiers of henchmen feel too much like boss encounters in a video game. And the climax – infiltrating a party at the evil guy’s mansion – is depressingly doddering & ends abruptly, without any real show-stopping confrontation to close the movie on. Disregarding those cons, it was an excellent watch as part of the Canadian $5 February deal at Cineplex.

3 out of 5

Movie poster sourced from impawards.com. Have you seen “The Beekeeper” yet? Would you if the ticket was only five bucks? Are you a connoisseur of other fine Jason Statham January fare like “Wild Card”, “The Mechanic”, or “Parker”? Are you disappointed when people talk about Jennifer Lopez’s acting career and no one mentions “Blood and Wine”? Leave a comment below!

Jay’s Take: Hobbs & Shaw

HOBBSNSHAW

Everyone seems to remember watching Tokyo Drift, but don’t actually remember what happened in it, or what happened to Lucas Black’s career after he tried taking over for Diesel (maybe there WILL be a Sling Blade 2?). Whatever transpired behind the scenes, someone in a suit decided then that the whole format of the series had to change. Removed almost-entirely was the car culture and racing that was the original trilogy’s bread-and-butter; the original cast was brought back and references to “family” and “sticking together” were amped to 11; and every action scene seemed like it had to outdo the one before it. So birthed the “new generation” of F+F movies with the fourth one in 2009, BRILLIANTLY titled Fast & Furious, and the series stayed relatively consistent for a while. With the fifth (Fast Five) and sixth (Fast & Furious 6) movies in 2011 and 2013 respectively they stuck to Lin’s formula; brought back popular characters from the first three movies and shoehorned them together; and strung them all along in a shared-universe plot. 6 also introduced our titular team to Dwayne Johnson’s hard-as-nails cop Luke Hobbs and Jason Statham’s bad-guy-turned-good Deckard Shaw.

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