The Equalizer was a pleasant surprise in 2014. An exploitation film that made a virtue of the simplicity of an ex-special forces soldier in Robert McCall (Denzel Washington) becoming a DIY avenger. The attention to social detail, especially in respect to race and class, constructed an interesting site of resistance. In addition, the genuinely nasty violence showed a commitment to the brutality of the depicted organised crime and the potential of a hardware store, while star Washington elevated the material to something more engaging than it might have been otherwise. Sadly, 2018’s sequel fails to deliver on almost all these aspects. Foregoing the stripped down simplicity of the original, EQ2 suffers from an overly elaborate plot, or rather plots that lack connective tissue. Character relationships muddy the waters rather than adding dramatic weight, whether they involve McCall’s mentee Miles Whittaker (Ashton Sanders), former comrade Dave York (Pedro Pascal) or Holocaust survivor Sam Rubenstein (Orson Bean). These sub-plots are frustratingly peripheral, screenwriter Richard Wenk failing to link together McCall’s central pursuit with the different lives he touches. Director Antoine Fuqua brings little stylistic flair to the proceedings, except in one bravura sequence that reminds the viewer of the importance of seatbelts. Meanwhile, a steadily approaching hurricane fails to increase tension, and much of the violence is obscured which makes the film appear neutered. The end result feels turgid and sluggish, and makes the viewer wish for something more efficient. Only Washington emerges unscathed, his charisma and star power lending the work some dignity. But great actors do not always equal great films, and The Equalizer 2 is a prime example of how much more is needed to equalize the quality of other fare.
In the pantheon of spy movies, there have been some impressive set pieces that take place in public bathrooms. Mission: Impossible – Fallout adds to this legacy with an inventive and visceral sequence that incorporates needles, laptops and various methods of unarmed combat with basins, mirrors, pipes and cubicles. The scene is typical of the film as a whole: gripping, visceral and intense, as writer-director Christopher McQuarrie delivers a ruthlessly efficient script and muscular direction. The plot, unusually for this franchise, follows on from the events of the previous instalment. Ethan Hunt (Tom Cruise) is haunted by his past missions, especially memories of his wife Julia (Michelle Monaghan) and malevolent adversary Solomon Lane (Sean Harris). When the remnants of the Rogue Nation pursue weapons grade plutonium, Ethan and his team of Benji Dunn (Simon Pegg) and Luther Stickell (Ving Rhames) are given the mission (should they choose to accept it) to intervene, and lumbered with CIA observer/assassin August Walker (Henry Cavill). From this set-up, intrigue, disguises and quadruple crosses abound, amid an array of quite astounding set pieces. The M:I franchise has prided itself on ever-escalating action sequences, and in the contemporary era of superhero exploits, it is impressive that this sixth instalment pulls off scenes with heft and physicality without the benefit of superpowers. Curiously, several of these scenes appear to re-stage sequences from previous films. The aforementioned bathroom scene echoes True Lies and Casino Royale, while a mountain climbing sequence recalls M:I II as does a motorbike chase, which is also reminiscent of similar chases in Rogue Nation and Skyfall. Speaking of sky fall, in the movie’s bravura set piece, McQuarrie flexes his stylistic flair, as two characters perform a sky dive in a continuous take, the viewer spiralling and tumbling along with the figures on screen. It is a breathtaking sequence with a genuine sense of peril, and one of the finest action set pieces this year. There is also emotional turmoil to match the physical, as themes of regret, guilt and responsibility pulse throughout the narrative, while the convolutions of the plot ensure that one’s brain is engaged as well as guts, leading to a film that is exhausting on an emotional as much as a physical level. As a result, despite these missions running for over twenty years, I would certainly choose to accept further ones.