A Working Man

It's very punchy, crunchy, stabby, stabby, shooty, but not funny... it's a lower ranking Stath thing.

The fun is undermined by dialogue that is overmasticated, Russian-accented word mulch. In the end, A Working Man takes itself rather too seriously for a movie that unironically uses Beethoven’s Moonlight Sonata as a recurring musical motif.

Statham is at the top of his game in this formulaic but satisfying, wannabe pre-summer blockbuster, and he’s the last of a breed of stone-faced theatre kids playing unstoppable badasses.

Ben Greaves’ sound mixing is notable. Shawn White’s cinematography is of a higher grade than one usually sees in the genre, working with production designer Nigel Evans to generate some memorable images and textures.

A Working Man isn’t afraid to make its spectacles of slaughter visually enchanting.

Visually, “A Working Man” flips from absurd stylization to handheld faux-realism and back again.

At 116 minutes, A Working Man feels unnecessarily long. As a result, it becomes a bloated affair that leaves viewers questioning why it's such a complicated mess by the time the credits roll.

What this movie does well is the fight sequences where Statham dispenses justice. At those moments, it’s exciting, visceral, and thrilling. What this movie doesn’t do well is… everything else.

A Working Man doesn’t go quite as bananas as its predecessor...But amid all the action-movie business as usual, some new issues have arisen — namely, who is supposed to be bad and who is presented as good.

I'm always down for a Jason Statham action flick and as much as I wanted to love this one, it's not as strong as THE BEEKEEPER and moved much slower than his previous films.