Equalizer 3 dares to ask what if Michael Myers was a good guy?
Imagine if Michael Myers, the infamous Shape from the Halloween franchise, decided to use his particular set of skills for good rather than evil. That’s essentially what you get with The Equalizer 3, where Robert McCall (Denzel Washington) stalks the streets of Italy, bringing justice with the same relentless efficiency and blood-curdling brutality you’d expect from the Shatner-masked horror icon.
The Equalizer 3 finds Robert McCall (Denzel Washington) recuperating in a quaint Italian village from a near-fatal injury at the hands of a child, an event which provokes something of a crisis of faith as he reflects on a lifetime of violence. Seeking peace, he is inevitably drawn back into action to defend the locals from Mafia thugs. Dakota Fanning co-stars as CIA Agent Emma Collins, reuniting with Washington years after their collaboration in Man on Fire. The tranquil setting contrasts sharply with McCall’s violent retribution, much like the serene suburban streets do with Michael Myers’ murderous rampages.
Denzel Washington’s performance remains as watchable as ever, his portrayal of McCall compelling and nuanced, bringing depth to a character that blends elements of a hero and a monster. The action sequences, although sparse, are intense and satisfyingly gory, although this time there’s a discomfitingly personal aspect to the kills, corroding their sense of righteousness. McCall wants his victims to know it’s him that’s killing them, and he looks them in the eye as they die, showcasing his lethal skills with a finesse that’s as captivating as it is chilling.
Despite its strengths, The Equalizer 3 suffers from pacing issues, with long stretches of inactivity that disrupt the film’s momentum, and the climax lacks the inventive set-pieces of its predecessors. Instead, it opts for a more shadowy, methodical takedown of villains, reminiscent of Myers’ nocturnal hunts. Despite the gravitas of his performance, there’s more than a whiff of late-era Steven Seagal in Washington’s more lackadaisical approach to the role this time. It may be that age is catching up with the veteran actor and so the action necessarily needs to slow down a little, but the move slowly, mumble softly and infrequently is straight out of the Under Siege star’s late-era playbook. While it’s nice to see Fanning and Washington together again after so long, the subplot involving Dakota Fanning’s character feels underdeveloped, serving more as a narrative filler than a meaningful part of the story, although it does – in the end – provide a little more connective tissue to the first two films.
Compared to the previous instalments, The Equalizer 3 leans more heavily into the horror-like qualities of McCall’s character, making it feel like a slasher film with a moral twist. While the first film balanced action with character development and the second amplified the stakes, this third entry feels more like a character study of a vigilante who could easily be mistaken for a monster if viewed from a different angle. It’s an intriguing blend, but one that may not satisfy all fans of the franchise.
The Equalizer 3 serves as a fitting end to McCall’s journey, presenting him as a vigilante who operates with the chilling precision of a horror movie villain. The beautiful Italian setting and Washington’s unwavering performance provide a solid foundation, but the film’s pacing issues and lack of character depth prevent it from reaching its full potential. It’s a curious blend of action and horror elements, giving us a glimpse of what it might be like if Michael Myers had a moral compass and a penchant for justice.
So, if you’ve ever wondered what it would be like if Michael Myers decided to fight crime instead of terrorising babysitters, The Equalizer 3 might just be the movie for you. It’s a blood-soaked ballet of retribution, performed with a quiet, chilling efficiency that will make you think twice about who the real monsters are.
