The Equalizer 3 (2023)

The Equalizer 3 (2023)


Watch the film The Equalizer 3 (2023) | WE WATCH

Nonton Film The Equalizer 3 (2023) – Robert McCall finds himself at home in Southern Italy but he discovers his friends are under the control of a local crime boss. When events turn deadly, McCall knows what he must do: become his friends’ protector by fighting the mafia. In Sicily, an Italian drug lord and his son pull up in a jeep on their way to a remote villa. Scattered across the country grounds, which, on better days, would be an ideal vacation spot, are the bloodied and dismembered bodies of evil soldiers. The man exited the jeep with a gun, leaving the child in the vehicle. He and one of his accomplices entered the house, where they found more carcasses, whose cause of death was riddled with bullets, their faces split open by butcher knives becoming even more grisly. Notorious hitman-turned-ghost Robert McCall (Denzel Washington) sits beneath two gunmen. Was McCall the prisoner, or were they? He, of course, dispatches them with ease, taking a set of keys from the body of a dead drug lord that holds what McCall wants to take. You won’t guess what ordinary package McCall just got from the hit squad. But that doesn’t really matter. While the miserly McGuffin doesn’t make up the rest of the film, these opening scenes—from the stomach-churning violence to the reliance on impractical effects—demonstrate where this once-fun action franchise went wrong. Antoine Fuqua’s “The Equalizer 3” is not only the film that many assumed would be the final film in the franchise; it is the fifth collaboration overall between the director and Washington. Their partnership is, in fact, confusing. Of course, their first team-up, “Training Day,” earned Washington his only Best Actor win. But their successive films have become increasingly crass and stupid since that win. What exactly did Washington gain from these films? It’s a relationship that often reminds us of the journey that Anthony Mann and Jimmy Stewart endured in their eight pictures together (although, to be sure, Fuqua-Washington has mined far worse thematic treasures) as Stewart abandoned his prestige, good-guy image and whimsy. it was a poor sell to explore darker stories in Mann’s liberating Westerns. You could say that Washington gets just as much fun here, no matter if the audience experiences the same sense of adventure that he does.

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