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It is often overlooked that Denzel Washington excels in action thrillers as much as he does in drama. But “The Equalizer” effectively obliterates that idea. To some extent, he performed in a more evolved manner in movies like “Man on Fire” or “Taxi Driver,” while also drawing on the ‘80s TV saga of “The Equalizer” which showcased Edward Woodward in the role of a guardian angel who assists helpless victims and is a former covert operative.
“To The Equalizer,” does not posses any profundity, maintaining that blend of entertainment and action. Washington does do justice to his character, a skilled vigilante fighting for the society, and aims to demonstrate the same prowess he exhibited in his Oscar-tearpass winning movies “Flight” or “Malcolm X.” Despite being 59, Washington still manages to excel at portraying men-of-action that draw and vigorously need to be entertained when there is real havoc.
“The Equalizer” is remarkably interesting because it brings Washington back together with Antoine Fuqua, the director who made him win the Academy Award for his performance in “Training Day” in 2001. However, do not expect any ‘King Kong ain’t got shit on me’ kind of dramatics during this particular caper. Instead, Washington’s Robert McCall inspires peaceful and composed manners while living an unobtrusive, almost spartan existence, as a clerk in a Home Depot-like store near Boston.
While his colleagues appreciate him and depend on him to guide them, they still wonder about his background. He engages in banter with some younger colleagues and claims that he used to be a ‘pip,’ as in, one of Gladys Knight’s backup dancers, and much to his surprise, they almost believe him once he busts out the old school dancing moves.
McCall WAS a Pip that’s for sure. A different kind of pip, One who has the ability to create a mental image of a situation that could potentially get out of hand and then analyse in detail every aspect of it like a brilliant Sherlock, and then get rid of the assailants through the the kind of violence that is swift and frequently gruesome. He also uses a watch timer for these types of situations, estimating how long it should take to deal with the threat. In his case, it’s usually a matter of seconds.
It appears he hasn’t been required to use these extraordinary skills for some time. Rather, this self-proclaimed insomniac relishes in sipping tea while binge-reading the classics, from “The Old Man and the Sea,” to “Don Quixote”, to even “The Invisible Man.” Each of these titles reflect his position in life. While doing so in an Edward Hopper-esque all-night diner, he has begun to wonder when he will have to hibernate these skills and put them to use again. These thoughts flood his mind with the introduction of a sweet, broken teenage call girl who lingers around the restaurant for her clients.
The relationship of the retired hustler and exploited teenage prostitute, Teri, is both sensitive and deeply troubling. Chloe Grace Moretz manages to capture the childhood wonder while being a catalyst for this poor widower’s life. She reveals herself to be an aspiring singer and manages to receive him warmly rather than taking advantage of the opportunity. McCall is ready to jump back into action when she stops arriving for her late-night dessert after losing a brutal fight with her Russian pimp that lands her in the hospital.
Afterwards the Washington’s target and his gang are chased down to a Russian eatery. It is just as amusing, if that is the right word for it, how the villains always misjudge him and in doing so, pay the price. The price is too steep I must say. An encounter like this will most certainly Change the way one uses corkscrews.
Needless to say, there is a Mr Big on top of the pimp, a thug jocosely called Teddy, the torso on him could easily be the SATANIC SISMINE CHAPEL. Marton Csokas snarls in malicious delight and gives us someone truly worthy of hissing toward in opposition, especially as it becomes evident how bad these Eastern European no-goodniks are involved and absorbed into corruption in America. At the same time, Ted’s boss is quite thrilled to find out who the mystery avenger is that is deleting his employees and is decimating his profitable corporations.
Fuqua tends to facilitate transforming violence as some painstaking ballet that is to be accompanied by water imagery of sloshing IIis evil being flushed away. That is all ok fine although it makes “the equalizer” look a little more bulky than lean and mean. While some people might disapprove of the absurd altercation that transpires in the obstructed corners of the darkened aisles of McCall’s mega-store workplace, I myself get a relaxation watching Washington transform miltary grade tools into ordinary hardware weaponry. Despite my enjoyment in watching madness unfold over places of commerce ever since “Dawn of the Dead”’s Isolationist battle of humans and zombies inside a mall.
By and large, “the equalizer” is just another comic book revenge character’s interpretation of an average blue-collar American, stalking secretly those people who abuse innocent citizens.
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