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Non-Review Review: The Equaliser 2

At one point in The Equaliser 2, Robert McCall is listening to a radio forecast of a storm front sweeping through the north east of the United States.

“It’s coming in slow,” the meteorologist explains. “It’s taking it’s time.” In theory, so is The Equaliser 2. The storm is itself a metaphor for both the film and its protagonist, a force of nature descending upon the characters with a slow and steady certainty. The Equaliser 2 is a film that is very consciously taking its time, the script structured in such a way as to prioritise mood and ambiance over plot and pacing. The Equaliser 2 is meant to seem a stately and poetic meditation on violence and the men who commit it. At least in theory.

Yeah, we don’t know why it isn’t called The Sequeliser either.

It is clear what writer Richard Wenk and director Antoine Fuqua are trying to do over the course of the film’s two-hour-and-nine-minute runtime, building a mounting sense of dread towards a cathartic release. However, there is something deadly unsatisfying in this. The Equaliser 2 is not nearly clever enough nor intricate enough to sustain that more relaxed pace. What should be profound is instead belaboured, what should be considered is instead clumsy. Plot threads are broached and disappear. The one that reach their conclusion arrive long after the audience.

The Equaliser 2 forsakes the grotty do-it-yourself brutality of its predecessor, aspiring towards something moving and insightful. Unfortunately, all of that gets lost in a haze. The storm passes overhead, and it seems unlikely that anybody would even notice.

A storm is coming.

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