Robert McCall, portrayed by Denzel Washington in three consecutive films, epitomizes the archetypal American action hero. Despite his retirement from the DIA, he remains engaged in the workforce, either at a hardware store reminiscent of Home Depot or as a Lyft driver, primarily to keep himself occupied. McCall’s steadfast belief that violence is the ultimate solution never wavers, despite occasional glimpses of remorse for his past life as a government assassin. He entertains the idea of a more fulfilling existence in Europe, particularly on the picturesque Amalfi Coast, where he finds himself in “The Equalizer 3” after a violent encounter in Sicily and a subsequent near-death experience on a ferry. Almost instantly, Robert discovers solace in a charming Italian town, embraced by its warm-hearted residents who frequent the bustling piazza, meander through the winding hillside streets, and relish authentic cuisine along the waterfront. For a weary American accustomed to the monotony of big-box stores and gig work, the allure of leisurely hours at an outdoor café, as opposed to an all-night diner, is undeniably appealing. Robert’s only task? Eliminate a group of Camorra members who are terrorizing the peaceful town.
According to Antoine Fuqua, the director of all three “Equalizer” films, this third installment marks the conclusion of the series, both for him and for Denzel Washington. It becomes apparent that the narrative has exhausted its potential, and even a change of scenery to Europe fails to reinvigorate it. When your protagonist is an unparalleled killing machine, the outcome and his success become almost predictable. “The Equalizer 3” scarcely attempts to present genuine challenges for Robert as he confronts organized criminals seeking to seize local assets. The only remaining suspense centers on whether Robert will stay in Italy, where he discovers a comfortable abode with a compassionate doctor, a potential romantic interest, and instant community support. Fuqua employs a muted, action-movie visual style in shades of gray and blue to underscore Robert’s seriousness, yet the breathtaking setting’s beauty remains overpowering. As Robert packs his bags, seemingly prepared to return to Boston, you can’t help but want to shout, “No, please, why leave this Italian paradise?” Fortunately, international matters summon Robert back into action.
“The Equalizer 3” exhibits a somewhat disjointed narrative, including a subplot involving a junior CIA agent portrayed by Dakota Fanning, which could easily be excised without detriment to the film’s length. Nevertheless, the movie delivers, thanks to Washington’s performance and Fuqua’s penchant for intense action sequences. While the “Equalizer” series falls within the realm of older-man action movies epitomized by Liam Neeson, Washington brings a unique touch to his character—a peculiar uncle figure who just happens to excel at combat. His idiosyncratic choices, like biting his lip and twisting his mouth, adding a dramatic “T” to “touché,” or letting out an elongated “booOOOoo” upon being recognized as a ghost, differentiate him from the conventional action hero seeking redemption. He comes across not as a man in search of atonement for years of brutality, but rather as a local eccentric yearning for a peaceful teatime.
However, peace remains elusive as the motorcycle thugs bullying the locals and extorting businesses offer little resistance. Even their mobster superiors soon find themselves incapacitated, with broken bones protruding through their flesh and gun muzzles thrust into their eye sockets. The violence in the film reaches such gleeful and exaggerated levels that it teeters on the edge of comedy. Yet, the most amusing aspect of “The Equalizer 3” lies in the Camorra’s ultimate objective: intimidating people into surrendering their property for the gangsters to construct hotels, casinos, and other tourism-related ventures. Robert unwittingly becomes the guardian of his charming Italian haven, fighting to preserve its unspoiled and development-free essence. Striving to achieve the idyllic vision of living abroad, where you’re the sole outsider—doesn’t that exemplify the quintessential American spirit?