Long-standing action draw Jason Statham has not lost his touch. He had a wobble when paired with Guy Ritchie on the acceptable but Kingsman-ripped style of Operation Fortune though he is back in fine form for The Beekeeper. Flashy action fun is all he needed, and a role which suits him as John Wick did for Keanu Reeves. Plenty of action, little talking. Should any more be expected from David Ayer? His recent projects have been brutal slogs to get through and his hopes of finding new life in the action genre with the firm hands of Statham is a nice gamble. It seems safe, almost. Josh Hutcherson and Jeremy Irons give this one some legs to run on, and The Beekeeper soon finds itself administering beautiful scenery and a masked-up Statham.
It feels neatly tired and a constant of the genre now. A retired and isolated man leaping to action to tackle the horrid injustice he is suddenly presented with. The mundane life of a beekeeper turned on its head over a grievance with the good people who fall to preying villains. Phishing scams prompt a real turn of bloody action as did the dog death of John Wick a decade ago. Phylicia Rashād makes for an excellent opening character – a solid work from someone who sets the plot in motion. Ayer even manages some neat examples of connected narratives, the honest and quiet beekeeper who barely says a word. It works well for Statham and it benefits Emmy Raver-Lampman, who is given the help of a legendary screen presence to work her craft.
Following the same beats as the opening of the Reeves action franchise is no trouble, it makes for a quick route to where audiences want to be, right at the killing. But the build-up is well managed, the sight of a nutcase calling himself a beekeeper, protector of the hive as he pours gasoline on a computer, is tremendous. Despite the severity of the action, the fine directing and the acceptable quick cut on occasion make for a neat piece. Hutcherson as some tech bro with tipped hair and the usual zen bragging makes for an easy-to-hate villain which caters to this audience. Good enough. The Beekeeper gets away with being good enough rather frequently.
Ultimately it marks some good fun and a real thrilling narrative from time to time. Simple, effective and well executed. All action needs to be at times. It tries to follow up the flow of colourful action sequences, but those firm fans of Statham need not worry – it is still the man at his best but with a quieter, reserved presence which benefits his style. Sharp writing, the obvious allure of action features with Statham at the helm is once more a glorious, entertaining experience. Irons trying to keep his nose clean with the bugging son and the eventual overlap of horrors to come from a beekeeper unloading his hives of guns and homemade explosives is as air-headed and entertaining as it sounds.
