“Real” movies
There are movies and there are movies. There have always been hacks for hire, but these days it’s less hack directors than hack IP that you’ve got to be on the lookout for. Hack IP is prefab by definition. Not so much too many cooks in the kitchen as no cooks at all: pull off the plastic, nuke it, and you’ve got yourself a movie. The next step, namely eliminating directors altogether in favor of A.I.-generated “content,” is only logical.
Sometimes, though, you’re in the mood for a crowd-pleaser. So the other day, when I had a couple nights to myself, I watched the second and third Equalizer films. The trilogy stars Denzel Washington and all three entries were written by Richard Wenk and directed by Antoine Fuqua. I vaguely remembered the first one, and thought it would be a pleasant, if undemanding, way to pass the time. I thought, in other words, that this was a bit of hack IP, brought to life by a hack writer and a hack director.
To my shame! There are movies and there are movies: some are fake, prefab, assembled by committee, produced by a factory, mindless, visionless, voiceless, toneless; and some are not. The Equalizer 2 & 3 are not classics; they didn’t deserve an Oscar. But they’re not fake. They’re not prefab. They’re “real” movies. And I wasn’t expecting that. Fuqua, Wenk, and Denzel surprised me.
The action in both films is well-executed. It’s what happens in between, though, that upended my expectations. Long stretches of “down time” with seemingly stock characters who, all of a sudden, are shown to have an inner life. What appears to be a minor detour is actually a bona fide B plot pulling the A plot into itself.
Wenk and Fuqua care about characters who, in any other Hollywood blockbuster, would be throwaways and caricatures. Ashton Sanders, fresh off his Moonlight turn, plays a teenage boy in the second film drawn into drugs and violence. Through Denzel’s eyes, Wenk and Fuqua train the audience—many of whom might not identify with Sanders’s character; might dismiss him as a problem; might think they already know his fate—to see him as Denzel’s character does: a sweet young boy, full of promise, caught between worlds. I sort of wanted the action movie to stop entirely and just become about this kid’s future.
Anyway. As I say, these films aren’t all-time greats. But “real” movies, however flawed, are always preferable to fake movies, however technically expertly wrought. And these two made me want to take a second look at Fuqua’s filmography especially. I’ve always dismissed him as merely competent, a professional who can work well with stars for big-budget manly movies. That was a mistake on my part. At a minimum, it turns out that professionalism—not to mention perspective and patience—go a long way in a landscape dominated by hack IP.
