REVIEW: “The Killer’s Game” (2024)

As a connoisseur of action films and a long-time observer of the transformative journeys of wrestlers into the world of acting, I must confess that “The Killer’s Game” left me with a bittersweet taste. On one hand, I admire Dave Bautista for his tenacious pursuit of roles that challenge him, even if some, like this one, seem to be second-rate material. His performance as Joe Flood is commendable, but the film itself feels like a missed opportunity.

In terms of wrestlers who’ve found success in acting, there aren’t too many blockbuster examples to mention. However, Dwayne Johnson stands out as an exception; his film career has propelled him to become the highest-paid actor in Hollywood. John Cena has also ventured into acting but, with a few exceptions, he seems to be predominantly associated with cheesy comedies – whether that’s good or bad depends on your personal taste for such humor.

After that, there’s Dave Bautista, who is the trickiest to evaluate among the three. He’s mainly excelled in secondary roles and has profited from collaborating with various renowned directors. However, his lead performances have been less consistent. In his latest movie, “The Killer’s Game,” he doesn’t get a chance to stretch much, and at times is even constrained. Yet, Bautista delivers a strong performance as the main character and effectively brings his role to life. It’s disappointing that the subpar material hinders him, particularly in the monotonous second half where the film’s exaggerated concepts eventually lose steam.

In a familiar tale, Bautista takes on the role of Joe Flood, a ruthless yet honorable hitman yearning for a life beyond his deadly profession after experiencing genuine love. However, as seen in countless assassin films, leaving behind a career in contract killing is not an endeavor one can effortlessly disengage from. Therefore, poor Joe finds himself forced to eliminate numerous individuals through elaborate and gruesome means if he ever hopes to attain a peaceful retirement.

The narrative is penned by Rand Ravich and James Coyne, building upon Jay Bonansinga’s 1997 novel with a similar title. They make an attempt to infuse complexity into a generally standard plot; however, many of these additions come off as quite absurd, leaving one questioning if the absurdity is inadvertent or deliberate. This is largely due to director J.J. Perry’s relentless pursuit of emulating films like “John Wick,” which ultimately leads to an imbalance between action and humor.

The film begins in Budapest, Hungary, with Joe Flood executing his latest assignment. However, things don’t run as planned, leading to a heated gunfight that causes spectators to scatter. Amid the pandemonium, Joe rescues a ballet dancer named Maize (Sofia Boutella) from being trampled. Fate brings them together again for dinner and eventually, they fall in love. As their bond deepens, Joe faces a difficult predicament: should he abandon his familiar lifestyle, or reveal his profession to Maize?

Sadly for Joe, he’s facing more significant issues. He’s been battling severe headaches that have led him to seek medical attention. The doctor diagnosed him with a swift and incurable form of dementia, leaving him with just three months to live. Faced with this grim prognosis, Joe chooses to take his own life. To help sort out his affairs, he consults his mentor and guide Zvi (Ben Kingsley), including transferring all his possessions to Maize and making her the beneficiary of a substantial insurance policy.

However, here’s the twist – Maize won’t receive any funds if Joe dies by suicide. So, as one might expect, he takes an unusual step – he arranges for a hit on himself. But then, in another unexpected sequence of events, Joe receives a call from his doctor who clarifies that his test results were mistakenly combined with another patient’s and he is actually in perfect health. Trying to withdraw the contract, he encounters a roadblock as an old adversary, Marianna (Pom Klementieff), interferes.

In the second half, the narrative primarily focuses on Joe, as he battles numerous assassins hailing from different parts of the world. Perry makes an attempt to emulate the flair and brutality depicted in ‘John Wick’, yet falls short on both accounts. He peppers the storyline with a vibrant assortment of killers, each boasting unique, exaggerated personas. However, they all come across as stereotypical characters and fail to make an impact. Moreover, they’re usually eliminated through various gruesome means that feature artificial blood splatters, which tend to be more jarring than realistic.

2024-09-16 17:56

REVIEW: “The Killer’s Game” (2024)

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