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If you’re not interested in what David Ayer is aggressively promoting in his January thriller, The Beekeeper, then when someone says the famous line “To bee or not to bee, that is the bloody question” to the main character, you might as well leave. By this point in the movie, Ayer and screenwriter Kurt Wimmer have already given us plenty of bee-related jokes, physical injuries, and odd appearances from British actors, making it a fun and lighthearted watch for those in the right mindset (aka drunk). I doubt there will be a dedicated fan base for The Beekeeper anytime soon (it’s too unoriginal and unpolished), but there’s enough excitement and well-executed silliness to entice audiences to see it in theaters this weekend.
It is similar to Jason Statham’s John Wick (although the actor already has multiple franchises and only two of his last ten movies were not part of a series). Its strong desire to be like John Wick can be distracting, but in a crowded market of copycats, it presents a more convincing argument. Statham knows exactly how to handle this material, better than most, and understands the balance between taking it seriously or not. The movie opens with a serious tone, giving the impression that it will be more serious than most. Statham plays a reclusive beekeeper who works on land owned by a retired teacher, played by the talented Phylicia Rashad. In a surprisingly emotional scene, she is tricked by a fraudulent call center into giving access to her accounts, resulting in her bankruptcy and ultimately taking her own life. This tragedy motivates Statham to take on the corrupt system and embark on a mission.
The motivator is effective, but Ayer rushes through it quickly, giving a sense of boredom in the scene. It’s a shame because more focus on Rashad and her relationship with Statham would have been welcome. The introduction of her FBI agent daughter (played unconvincingly by Emmy Raver-Lampman) leads to some hilariously terrible dialogue delivered with a serious expression. There are also many confusing lines about bees, such as comparing hurting an elderly person to facing hornets alone. In Kurt Wimmer’s screenplay, a beekeeper is not just a beekeeper but also a trained assassin who protects the queen bee. This forces the FBI agents chasing him to study beekeeping in order to understand his motives.
Similar to other movies in this genre, the film follows a video game format until the final boss. Although it was set in the US, the filming took place in the UK, and the stops along the way feature underutilized Minnie Driver, a menacing Jeremy Irons, and a lifeless Jemma Redgrave, who all seem to have less fun than Josh Hutcherson’s obnoxious character. In an unexpected turn, the Beekeeper discovers a connection between the honey and the White House, and writer Wimmer attempts to comment on the blurred line between political and corporate corruption. However, the tone is not taken too seriously, evident in the action-packed finale with minimal dialogue (including a thrillingly gory hallway fight scene) and a rushed conclusion that awkwardly sets up potential sequels.
Statham continues to impress as a professional (one can only imagine his potential as a real-life assassin with his extensive training), but it’s all becoming repetitive. His recent non-franchise films have shown his range, excelling in both lighter (Operation Fortune) and darker (Wrath of Man) roles. It would be refreshing to see him take on something slightly unconventional next. His collaboration with Ayer, who thrives on smaller, grittier projects, allows for more creative freedom (although his Suicide Squad was visually stunning, it fell short in execution). The gritty, late-night vibe of his exaggerated trash aesthetic adds to the appeal of The Beekeeper. Prepare for a potential sequel.
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“The Beekeeper” will be released in cinemas on 12 January in the UK, Australia, and the US.
Source: theguardian.com
