The Equalizer

Released:  September 26^th, 2014

Rated:  R

Studio:  Columbia Pictures

Starring:  Denzel Washington, Marton Csokas, Chloë Grace Moretz, David Harbour, Bill Pullman, Melissa Leo

Directed by:  Antoine Fuqua

Written by:  Richard Wenk

Personal Bias Alert:  Never seen any the television show or any of Fuqua’s movies

7.8 of 10

            So how many of you managed to see The Equalizer without realizing it’s based on an ‘80s television series, because I somehow did.  Not that I would expect myself to remember the show; It technically lasted into my infant years, but for all intents and purposes it was on before my time.  Granted, I didn’t pay much attention to this film’s promotion either, but I saw the trailer several times and don’t recall it ever mentioning the series (I do recall it advertising the use of a brand new Eminem song, though).  So why leave it by the wayside?  Was it bad?  Did it fail to retain an audience?  Normally, these questions would nag at me, but the film’s so rooted in genre that it felt familiar even without references to the series.

            The Equalizer draws on many genres, but it primarily mixes the slow burn of a spy thriller with the moral certainty of a revenge pic.  Robert (Denzel Washington) is our former spy (or old man, to steal the film’s The Old Man and the Sea metaphor), a guy who’s unable to turn a blind eye to the abuse of a young woman.  Utilizing some of his formidable skills, his quest to save her eventually leads him into a much larger battle than he intended, and to start a habit of sticking up for anyone who’s being taken advantage of. 

            The film exists in a black and white world, where stereotypical bad guys (Russian mobster, corrupt cops, etc.) are hunted down by Robert to ‘equalize’ the score.  In such a basic world, it may seem odd to point out how necessary the film’s prolonged setup is, but giving Robert time to establish normal relationships and his own moral barometer goes a long way to making the later action sequences work.  In fact, these early scenes brim with so much life, particularly the ones between Robert and the young woman played by Chloë Grace Moretz, that you forget you’re watching a bunch of setup.  I’d be happy to pay for a feature length character study of those two.

            Unfortunately, Moretz doesn’t get enough screen time to fully establish her character, but she knocks the few scenes she does have out of the park.  That lack of depth applies to all the characters not played by Washington, but the assembled cast of recognizable character actors play their parts well enough that I didn’t really mind.  The most attention is given to Robert’s alter, the formidable Russian mobster played with sneering glee by Marton Csokas.  I’m not generally a fan of such one-note bad guys, but the barely contained menace that Csokas brings to the role won me over.

            Helping to sell this black and white world is the stylish cinematography, which threatened to be a bit on the nose with its prominent use of shadow, but ultimately sold the whole theme.  I mean, there’s few portraits of evil in American cinema more classic than a man leaning confidently forward, one half of his face murky in the darkness, calmly spouting threats in a Russian accent.  Sorry Russia, I have nothing against you, but the Cold War had long reaching effects on Hollywood.

            There are times when the style goes too far, particularly when Director Antoine Fuqua breaks out the slow motion, and the film becomes too actiony for its own good.  This occurs mostly during the ending, which has a couple of ridiculous sequences that took me out of the film, but also features a great set piece that’s milked for all its worth.  That set piece is a reminder that The Equalizer works best when it sticks to the basics, letting its stellar cast and slow burning tension carry the audience through.

Other Notes: 

Ø  I always wait to wipe off the murder weapon I “borrowed” from my employer until I’m in public and seconds away from returning it.

Ø  Don’t go to this film for Bill Pullman or Melissa Leo.  It’s not worth it.

Ø  Cue a dramatic walk home from the grocery store.