Directed by:
Guy RitchieCinematography:
Alan StewartComposer:
Christopher BensteadCast:
Jason Statham, Holt McCallany, Josh Hartnett, Darrell D'Silva, Jeffrey Donovan, Scott Eastwood, Andy Garcia, Eddie Marsan, Deobia Oparei, Laz Alonso (more)VOD (3)
Plots(1)
A mysterious and wild-eyed new cash truck security guard (Jason Statham) surprises his coworkers during a heist in which he unexpectedly unleashes precision skills. The crew is left wondering who he is and where he came from. Soon, the marksman’s ultimate motive become clear as he takes dramatic and irrevocable steps to settle a score. (SF Studios Fin.)
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Reviews (16)
This is what a purposeful remake should be. From the original story, which I liked, Guy Ritchie took the most important thing, added a lot of new things, and made a film that I like even more. The uncompromising dark atmosphere draws you in with the first scene and continues to roll to the sound of flawless creeping music, mixing with the roar of trucks and gunshots. Yes, since the hero is played by Jason Statham, unlike the French original, what he can do is not that surprising, but many other things and characters, including the perfect Scott Eastwood, who obviously can act when given the chance, do surprise. I probably most enjoyed the chapter Scorched Earth, in which the boss and the team followed the footsteps and which was really dense. Great job!
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This dark heist flick offers a very, VERY angry tough-guy protagonist driven by vengeance, gangs of exemplary thugs (Darrell D'Silva was the best!), raw shootouts and super-dark, heavyweight music that adds to the film’s gut-punching seriousness. Of course, the action is superbly directed with absorbing camerawork that is magical, even when the film is just building up to the action. The flashbacks in the first two-thirds are also pleasing, with the causes of events told in an original way through editing and the gradual revealing of the main character’s identity. If it had an even more sophisticated climax (which, as it stands, is rather “only” a well-done action scene) and settling of scores with the main villain (who, furthermore, should not have been played by the non-actor Eastwood Jr.), Wrath of Man would have been a reference work in the genre.
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I never would have guessed that Guy Ritchie would direct such a ruthlessly understated revenge thriller starring Jason Statham. Sure, I’d expect Ritchie to team up with Statham, but I’d also expect an over-the-top spectacle. Instead, we get a quiet warrior patiently waiting for his revenge, and anyone who crosses him doesn't live to tell the tale. It's a very interesting and surprisingly good film.
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It's as if, after the more or less upbeat and cheerful The Gentlemen, Guy Ritchie decided he had to set things straight somehow, and he made the darkest, meanest film of his career. In Wrath of Man, he cuts back on his trademarks of frantic editing and narration, the film doesn't rush anywhere and has time to crawl under people's skin – and make you feel quite uncomfortable. Atmospherically, it reminds us of something between S. Craig Zahler's films and 70s thrillers, and thanks to the non-chronological narrative, it manages to be a fairly B-movie story into something you can't take your eyes off. And then we have Jason Statham, who has never had a better role in his life. His uncompromising expression and Ritchie's unexpected approach to directing (that music!) actually make the film quite uncomfortable to watch in the end. You can feel the anger, rage and aggression bubbling to the surface, with both men doing their best to delay the moment when the carnage breaks out. It's almost torturous, but it works brilliantly. Ritche has made a very different film than his fans would expect him to make. This vigorous sidestep shows that he's far from showing everything he can do as a filmmaker. I'm happy for him and his new release. Very happy.
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To begin with, Wrath of Man looks like a Statham classic about a dude with a clear moral compass who eliminates gangs that rob armored cars. GTA style. But I was mistaken. The tough, focused approach chosen by Richie and maintained till the very end reveals that he has grown up at last and can deal with his ego if the story needs it. No music-video type editing and, whenever there is a one-liner, then it’s sexist and homophobic, plus cruel and bloody action. The combination of Zahler’s approach mixed with a Mann’s crime movie works like a well-oiled machine. Benstead’s music amazingly highlights the unpleasant, almost chilling undertones of the whole movie. An excellent role for Eastwood.
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