And so, in the blink of an eye (or, again, the cinematographic gimmick of delving into the spinning gears of Mac’s mind), villains are dispatched (and timed with a stopwatch, which is never explained).
#Equalizer two mac
In fact, Mac is always several steps ahead of the bad guys, signified by the camera’s zoom into his eye, which tends to see not only everything around him, but also exactly how knife-toting or gun-brandishing thugs will react. But wait – it turns out he knows a phrase or two, particularly when necessary in provoking his target. Perhaps his only giveaway is his inability to speak the language.
#Equalizer two full
When a grown adult feels this way, however, the result is sad – pathetic, even – and in the worst cases, dangerous.N full Turkish disguise, Robert “Mac” McCall (Denzel Washington) infiltrates a Eurasian railway to apprehend a kidnapper. When a child feels this impulse to be big and strong, we get the inspirational superhero pictures currently flooding multiplexes. The film ends with young Miles applying himself by putting his artistic talents to use on a comic book immortalizing the Equalizer, and in doing so, completing the dream of geriatric action (geriaction?) cinema: to remain vital, respected and capable forever. For there is nothing more typical of a middle-aged American man’s fragile ego than the need to regain command over a world in the process of leaving him behind. Little does Fuqua realize that his hero embodies the spirit of this particular variety of manhood more completely than he could have intended. A real man would never lay hands on a woman, he rules, a real man has honor or a moral code. The script makes repeated mention of what it means to be a man, as McCall often disses his enemies by impugning their masculinity. The film would have us believe that that reaction isn’t what McCall would’ve wanted, but it’s clear that this has been Fuqua’s game all along. The audience at this critic’s screening howled with approval at intimately photographed knifings, shootings, and one instance in which a man is flung from a great height on to some sharp rocks. The Equalizer pictures operate under a false moral imperative, using the mission of cleaning up the streets as a cover for the same pat hyper-stylized, near-pornographic brutality. (That Washington is charming enough to disguise McCall’s clear streak of Travis Bickle-level sociopathy ranks as this production’s greatest asset.) In actuality, he’s in pursuit of something far nastier, cheaper and faster – revenge. He claims to pursue justice, and because Washington has had 30-odd years to perfect his onscreen charisma, the audience may very well believe him.
We want him on that wall, we need him on that wall, etc.ĭenzel Washington and Melissa Leo in The Equalizer 2.
Like the cowboys who took the law into their own hands before him, a tradition evoked by a final shot mimicking John Ford’s indelible end to The Searchers, he acts as a compromised society’s self-appointed moral guardian. Washington is now 63 years old, and McCall acts even older – though he never tells anyone to pull their sagging pants up, you can tell he is at all times thinking it – but he has no trouble putting the smackdown on men two or three decades his junior. He’s a naked expression of the middle-aged man’s desire to remain relevant and in command of his immediate surroundings. In either case, the mentality undergirding his actions remains the same. Last time around, he was helping out streetwise teen prostitute Chloë Grace Moretz, and now, he’s unraveling a convoluted, uninteresting conspiracy threatening his pals Dave and Susan (Pedro Pascal and Melissa Leo, respectively). He takes it upon himself to pick up the police’s slack by going vigilante with principle, dropping pseudo-slick one-liners about good manners while he dispatches the no-goodniks who fall through the cracks.
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It starts when some skeevy financial types dump a roughed-up female intern in his car, and McCall goes up to their penthouse to crack some skulls after safely depositing her at the hospital. But greater evils than the occasional S-word lurk among the high-rises of Boston’s lower-income neighborhoods, and accordingly, McCall must take more extreme measures in his quest to purge the streets of wrongdoers.
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