Initially, “Havoc” might seem like another common, single-word title used in action movies to suggest quick, intense action. Compare it with longer titles such as “A Clear and Present Danger” or “Every Which Way but Loose”. A short, impactful name like “Taken”, “Crank” or “Drive” seems more appealing for these types of projects. However, if you look up the word “havoc” in a dictionary, it represents not just destruction (as seen in “The Raid” directed by Gareth Evans), but also confusion, chaos, and disorder that can overshadow the enjoyment provided by the film’s over-the-top action sequences.
Tom Hardy portrays Walker, a police officer who appears significantly worn out, much like Bruce Willis’ appearance at the end of “Die Hard.” He wholeheartedly embodies the stereotype of a less-than-ideal cop, patrolling Christmas Eve in a fictional city that:
1. Doesn’t actually exist,
2. bears resemblance to the grittier, more criminal-ridden version of Gotham City depicted in “The Penguin”, and
3. is controlled by the underworld triad, filled with countless henchmen armed to the teeth.
The story suggests that Walker is part of a tightly knit and highly corrupt narcotics squad, where Timothy Olyphant’s character represents the worst aspects. This group has chosen to steal drugs from the very people they should be apprehending. Walker’s superior officer acknowledges his rule-breaking nature, as does Lawrence Beaumont, a real estate tycoon running for mayor, who owes his political survival to Walker’s solo efforts.
Thus far, it mirrors Shane Black’s script to the core, with Walker engaging in witty banter with his new partner Ellie (Jessie Mei Li), and a moment where he rushes through a grubby convenience store seeking a thoughtful Christmas gift for his 6-year-old daughter. In this haste, an intense car chase involving the other four officers involved in Walker’s illicit money operation is taking place simultaneously across town.
A trailer loaded with washing machines, concealing cocaine within, is speeding towards a freeway, but upon closer inspection, it appears unreal. A man seems to be jumping from the back door of the trailer, however, it’s clear that the camera, not the vehicle, is actually moving. This resembles the visual effects (VFX) techniques seen in “Speed Racer,” except that film intentionally gave a feel of anime-style live action. Instead, “Havoc” unintentionally appears overly cartoonish.
Picture a crime movie that’s as chaotic as a disorganized crime syndicate: Here, director Evans excels in action sequences, yet falters with dramatic elements. He weaves a straightforward task to safeguard Mayor Beaumont’s son Charlie (Justin Cornwell) into an intricate web of conspiracy. The script, filled with twists and turns, leaves us puzzled about who wants to harm Charlie and his associates for a while, primarily because the plot lacks clarity at this stage. Confusion rules, indeed.
Initially, intense action sequences are depicted in an unusual manner, with gunfire occurring off-camera (while minimal injury is shown) or sudden transitions, which later get expanded upon by gruesome flashbacks. This style is also applied to Walker’s internal conflict at the start and a major robbery involving heavy weaponry against the local Chinese drug dealer (Jeremy Ang Jones), all while Charlie and his group are transporting their loot. Later, when Evans finally reveals the shootout, it mirrors iconic Hong Kong action films like “Hard Boiled” or “The Killer,” where elegantly dressed bystanders perform slow-motion cartwheels as squibs detonate on their clothes, creating a striking visual effect up and down their shirts. (The extensive use of practical blood packs adds a nostalgic charm to a film predominantly relying on computer-generated imagery.)
Since Charlie and his girlfriend, Mia (who could have been a better central character than Walker, emanating a rebellious spirit similar to young Franka Potente), were there during the raid incident, the triad’s prominent figure “Little Sister” (Yeo Yann Yann) arrives with her private troops. If you manage to make it through 50 minutes of the movie, you’ll be treated to a nightclub scene where Walker, corrupt cops, and Little Sister’s troop all gather around Charlie and Mia, as Gesaffelstein dominates the soundtrack.
12 years ago, I would have found that music selection “cool” as it aligned perfectly with the release of his “Aleph” album. However, playing three tracks consecutively in a 10-minute club sequence following Lady Gaga’s “Mayhem,” which boasts four collaborations with Gesaffelstein, seems to be jumping on the bandwagon a bit late. Nonetheless, it fits perfectly for a Gareth Evans spectacular, echoing Aria Prayogi’s dark and industrial-sounding score. Yet, it feels somewhat out of place in the neon-lit venue or with the laid-back DJ, who seem more suited to places frequented by frat boys and Kardashians. Instead, this intense music seems more fitting as a funeral dirge for the 50 or so thugs with abysmal aim who meet their end here, rather than the soundtrack of a typical hangout spot for them.
Action enthusiasts will find plenty of reasons to watch, as Evans choreographs a dynamic and brutal sequence filled with frenetic violence. He skillfully combines an array of firearms, martial arts, and makeshift weapons such as steel pipes and kitchen knives. While it’s not quite like “Kill Bill,” the intense fighting does bear similarities to “The Raid.
In about twenty minutes, the scene at Walker’s private cabin seemed overly prolonged, more draining than thrilling, as the remaining hundred or so characters were reduced to a handful. The script, one-dimensional characters, and cringe-worthy performances (except for Hardy, Whitaker, and Olyphant) imply that Evans might excel in managing secondary units or action scenes within a big franchise, instead of penning and directing a semi-dramatic film.
Big-studio producers chose filmmakers like Colin Trevorrow, Rian Johnson, and Jon Watts for their blockbusters, not because they excel at action, but because they maintain compelling interpersonal relationships within their films. Unfortunately, Evans overlooks or misunderstands these connections, which are crucial to making characters relatable, leading to his Netflix movie falling flat upon release.
Read More
- Unleash Your Heroes’ True Potential: Best Stadium Builds for Every Overwatch 2 Hero
- 50 Goal Sound ID Codes for Blue Lock Rivals
- Lucky Offense Tier List & Reroll Guide
- Elder Scrolls Oblivion: Best Mage Build
- Elder Scrolls Oblivion: Best Spellsword Build
- Unlock All Avinoleum Treasure Spots in Wuthering Waves!
- Best Crosshair Codes for Fragpunk
- SWORN Tier List – Best Weapons & Spells
- WARNING: Thunderbolts Spoilers Are Loose – Proceed with Caution!
- Elder Scrolls Oblivion: Best Rogue Build
2025-04-24 21:19