Gareth Evans’ Havoc is a raw, fast-paced crime thriller that, though not particularly innovative in its narrative, offers sufficient visual style and visceral excitement for an engaging viewing experience. Featuring Tom Hardy, this much-anticipated film—crafted in 2021 and now available on Netflix—takes great advantage of Evans’ knack for dynamic action, despite lacking the emotional resonance and creative spark found in his previous works, such as The Raid and The Raid 2.
Hardy portrays Walker, a battered, down-on-his-luck American detective with a shadowy history and a growling presence—a character that suits the actor perfectly. Walker is an ex-cop entangled with a corrupt politician, played by Forest Whitaker, who pulls him back into the criminal world to resolve a situation involving a botched drug deal. While the film teases a troubled past for Walker, it never delves into it fully, instead honing in on his physicality and aggressive method of confronting issues.
The narrative kicks off with a high-speed nighttime truck chase, establishing the frenetic tone of a film that revels in disorder. It follows a young pair, Charlie (Justin Cornwell) and Mia (Quelin Sepulveda), who escape the aftermath of a lethal shootout tied to their Triad leader. Their flight attracts the attention of influential figures, including Whitaker’s political candidate, Lawrence Beaumont, who has hold over Walker and sends him on a task to retrieve the couple and manage the aftermath.
As Walker investigates further, he is joined by his rookie partner Ellie (Jessie Mei Li), and the film introduces a variety of characters with fragile ties to each other, including a powerful matriarch from the Chinese underworld (Yeo Yann Yann). These subplots hint at themes of fractured families and parental duty, but they remain superficial, resulting in a lack of emotional depth.
Havoc takes place in a stylized, unnamed American city—shot in Wales—that resembles more of a noir-inspired film set than a real location. The environment conjures a gritty vibe akin to Gotham City, with rain-drenched streets, dim illumination, and a continuous aura of dread. Evans and cinematographer Matt Flannery craft a dark, comic book-like style that captivates visually, even if the characters seem detached from their surroundings.
The action is where Havoc excels, yet it never reaches the creative peaks of Evans’ earlier films. Rather than featuring intricate martial arts choreography, the film opts for brutal, chaotic street fights and exaggerated gun battles. The violence is over-the-top and often ludicrous—think unending ammunition, bone-crushing impacts, and blood-splattered surfaces. Evans choreographs these action sequences meticulously, employing extended takes and dynamic camera movements to cultivate a sense of drive and rhythm.
Nonetheless, the film struggles with a lack of escalation. Following the initial rush of adrenaline, the action sequences start to blend together, providing little difference in tone or intensity. Each combat scene seems like a variation of the last, devoid of genuine buildup or resolution. While the film never dips into tedium, it misses the rising tension and innovative stunts that rendered The Raid films unforgettable.
In conclusion, Havoc presents a mixed experience. It’s a visually stunning, at times exhilarating journey supported by Hardy’s captivating performance, yet it fails to convey a gripping narrative or meaningful character development. Enthusiasts of gritty action might find some enjoyment, but those yearning for the next exceptional genre film from Gareth Evans could leave feeling underwhelmed.
Havoc debuts on Netflix April 25.