#EQUALIZER DENZEL WASHINGTON SERIES#

However, he should have turned the handle on that vice much earlier on and he could have put the cutters to use as well, to trim down the preamble. Certainly, Woodward's stiff-upper-lipped Equalizer would not have indulged in such nonsense.įor moviegoers who simply want a quick shot of adrenaline, the final showdown delivers plenty of that â€“ with an inventive use of domestic hardware â€“ and Fuqua even remembers to add a little suspense. Compared with Liam Neeson, another midlife crime-fighter in A Walk Among the Tombstones (released just a week before this), McCall is crudely drawn. Setting his watch to measure his efficiency in killing people turns it into a game, undermining the basic decency that should set 'The Equalizer' apart from his prey. Denzel Washington e Antoine Fuqua non hanno mai realmente pensato ai film di The Equalizer «come una serie». Washington also has a fight on his hands to retain credibility as he goes about his business like a one-man A-Team â€“ a different show altogether.īetter to think of it as a Denzel Washington movie, a so-so effort that would have been a lot slicker if his old cohort Tony Scott had been at the helm.

#EQUALIZER DENZEL WASHINGTON SERIES#

The street-level realism of the original series is sacrificed in favour of grand villainy and amped-up scenes of violence. While there are bursts of action, the film doesn't gather momentum until Teddy comes knocking but Csokas threatens to swamp the screen with so much venom. That's the cue for psychotic fixer Teddy (Marton Coskas) to fly in from Moscow and reassert some authority on behalf of mysterious mob boss Pushkin (Vladimir Kulich). Inevitably, McCall finds himself having to defend her honour, taking a few hours off from his job at the US equivalent of B&Q to knock some Russian heads together. More's the pity because Fuqua sets up a nice dynamic between the two who frequent the same late-night diner, framing their conversations with a visual nod to Edward Hopper's Nighthawks canvas. ChloÃ« Grace Moretz is wasted in a small role as a hooker who draws McCall back into a life he left behind, using his special ops training to scrub out the kingpins and corrupt cops who prey on the vulnerable. He also benefitted from Washington's Oscar-winning study in uniformed criminality and if it wasn't for the actor's natural charisma, here, as Robert McCall, this would be a very dry trawl through the city (now Boston, for no obvious reason). Better to think of it as a Denzel Washington movie, a so-so effort that would have been a lot slicker if his old cohort Tony Scott had been at the helm.ĭirector Antoine Fuqua has yet to equal his 2001 cop drama Training Day in marrying psychological depth with visceral impact. 30 years on, there is only a distant echo of all that in this film version. the intro to The Equalizer is a defining snippet of '80s TV, tapping directly into the yuppie angst of New Yorkers caught in a terrifying wave of street crime.

Play icon The triangle icon that indicates to playĮdward Woodward stepping purposefully out of a cloud of dry ice to the steady beat of a synthesizer.

Equalizer denzel washington