'The Beekeeper' Review: Jason Statham Kicks Crypto Bros Butts With Solid Silliness and a Smug
Jason Statham has worked many jobs; he’s been a mechanic, a transporter, and an expendable, all revolving around him mowing down mercenaries. His latest occupation is a beekeeper. You wouldn't believe what his job entails.
R: Violence throughout, pervasive language, some sexual references and drug use
Runtime: 1 Hour and 45 Minutes
Production Companies: Metro-Goldwyn-Mayer, Miramax, Cedar Park Studios, Punch Palace Productions
Distributor: Amazon MGM Studios
Director: David Ayer
Writer: Kurt Wimmer
Cast: Jason Statham, Emmy Raver-Lampman, Josh Hutcherson, Bobby Naderi, Minnie Driver, Phylicia Rashad, Jeremy Irons
Release Date: January 12, 2024
Exclusively In Theaters
Retired ex-covert operative Adam Clay (Jason Statham) lives peacefully on a farm as a literal beekeeper, which was also the name of his organization. One day, his friendly next-door neighbor, Eloise Parker (Phylicia Rashad), falls for a phishing scam run by a corrupt cryptocurrency group, losing all her retirement and charity funds. In response, she ends her life. Parker's cop daughter Verona (Emmy Raver-Lampman) and Clay arrive at the scene to see her deceased body. Clay takes it upon himself to enact revenge, returning to his beekeeper roots after every crypto-cuck involved in the scheme. He soon learns it's all funded by the president's (Jemma Redgrave) erratic son, Derek Danforth (Josh Hutcherson).
Following several terrible action flicks, The Beekeeper finds director David Ayer returning to the pulpy, B-movie roots where his career thrived. His action sequences are as quick as Adam Clay's combat reflexes. He delves into old stylish hits like those fireworks bullet light shows he did in Fury. Statham's Adam Clay works effectively as a fun action hero based on his pseudo-Bugs Bunny mode of operation. Like Bugs, Clay is a master of disguise, doesn't react to his non-threatening adversaries, and can easily weasel his way into any situation. Clay would spawn out of nowhere with a "What's up, Doc?" smug attitude at an FBI pre-brief about himself, do an ACAB beatdown when they find out who he is, cartoonishly smack a man around, and execute an entire Home Alone trap with mercenaries on an elevator. Maybe I’m getting older and more appreciative of his extensive body of work, or I've developed Statholm Syndrome, but damn it, I had fun watching Jason Statham deliver his trademark comedic-action work on people who deserve a whooping.
Kurt Wimmer's script bears John Wick: Chapter One overfamiliarity with the "cocky new school people killing the source of the old school action lead's joy" setup. Yet, to have the main antagonist be a fratty, Jordan Belfort-styled crypto bro preying on the lower class is simplistic enough for anyone to say, "Okay, Fuck 'em up, boomer. Go wreck their shit with your Robin Wick-Hood self." It's delightful how fragile they make that pathetic culture out to be, and with Statham's cold quips at the forefront, I felt much joy.
If the laughs didn't stem from that, they did from Jeremy Irons' Wallace Westwyld, Derek Danforth's former CIA head turned personal right hand, who reminds him of his inevitable downfall. Whereas John Wick had Michael Nyqvist scolding Theon Greyjoy, Beekeeper has goddamn Scar telling Peeta Mellark how fucked he is and emphasizing how he should be prepared (hehe) for his death. Plus, his "I hate this kid" attitude paired with great lines, like calling Danforth's business a "Metaverse meth lab." That's some grade-A comedy from an S-tier voice.
Action flicks need to end this trend of using a Black character as a martyr for a white lead to seek revenge. I mean, yay ally. Go off, king. But this is the second movie in recent memory (following The Wrath of Becky) where the lead goes ham over a caring, old Black woman getting murdered. Well, it's not the same because Eloise Parker commits suicide, but it’s close enough.
As aforementioned, The Beekeeper borrows heavily from the first John Wick in its plotting rather than its character since Statham plays more into his charismatic self. That formula works; I don't mind a retread, for it fills a Keanu-shaped void in my soul. Yet, you're adding extra subplots that make this movie convoluted. FUN! January season, you strike again.
Once FBI Agent Verona Parker enters the scene, The Beekeeper diverts from a straightforward action flick into a CBS primetime procedural drama. Verona tries to track the busy bee on the killing spree and take him in. The character's motives were difficult to follow because she puts the justice system over her own mama's death. Girl, why are you trying to narc on the man getting revenge for your mama, possibly saving many other old folks these sharks are praying upon? Let Clay do your payback for you, or, at the very least, join him! Plus, it's easily predictable where her arc heads every time she runs into Clay.
David Ayer, we have to get you a different editor. Geoffrey O'Brien isn’t cutting it with the action sequence cobbling. The action sequences sometimes play as if they’re ashamed of their R rating, the way they dance around several graphic moments if an intense hand-to-hand combat sequence precedes it. The editing sometimes meshes well with the classic style Ayer goes for. But it’s mostly ineffective and sloppy, with several trailer moments in the final cut. It reminds me of an infamous Ayer movie that failed because they had some kind of ed-i-tor squad.
With fun, stylish action from Ayer’s lens and Statham’s stinging star power pollinating the screen, The Beekeeper is a bloody fun thrill ride as solid as a January action flick can be.
Rating: 3/5 | 64%
