A Working Man – Film Review

David Ayer, known for his gritty crime dramas (End of Watch, Fury), teams up with action icon Jason Statham in A Working Man, a straightforward but hard-hitting thriller adapted from Chuck Dixon’s Levon’s Trade. Co-written by Ayer and Sylvester Stallone, the film promises a no-nonsense, bare-knuckle approach to vengeance and justice. While it delivers on brutal action and a committed lead performance, A Working Man struggles to carve its own identity in a genre overflowing with similar narratives.

The film follows Levon Cade (Statham), an ex-Royal Marines commando attempting to leave his violent past behind as a construction worker in Chicago. However, when his boss’s teenage daughter, Jenny Garcia, is abducted by human traffickers, Cade finds himself drawn back into the world of brutality he had tried to escape. What follows is a relentless pursuit through the city’s underbelly, with Cade tearing through criminal networks to bring Jenny home.

If this premise sounds familiar, that’s because it is. A Working Man shares thematic DNA with classics like Taken, Man on Fire, and even Statham’s own Safe. There’s no reinvention here—just a stripped-down, no-frills revenge story executed with Ayer’s usual tough-guy authenticity. While it doesn’t bring anything particularly fresh to the table, the film maintains an engaging pace, keeping viewers invested in Cade’s brutal mission.

Unsurprisingly, Jason Statham is the film’s greatest asset. He’s in his comfort zone playing Cade, a man of few words but lethal efficiency. The role doesn’t demand much in the way of emotional depth, but Statham does a solid job conveying quiet intensity and world-weariness. Whether he’s interrogating criminals with menacing glares or dispatching foes with surgical precision, Statham is as watchable as ever.

The action is tailored to his strengths, featuring brutal hand-to-hand combat and well-choreographed takedowns. While the film lacks the high-energy set pieces of The Transporter or Hobbs & Shaw, it leans into a raw, methodical style that suits its grounded tone. The fight scenes feel personal and vicious, emphasizing Cade’s sheer force and determination.

Michael Peña plays Joe Garcia, Jenny’s father and Cade’s boss, but unfortunately, his role is underwritten. Peña is a talented actor with strong dramatic and comedic chops, but here, he’s relegated to a few worried-parent moments and doesn’t get to leave much of an impact. Ayer’s past films have excelled at building camaraderie between characters (End of Watch especially), but A Working Man lacks the kind of strong relationships that could have elevated the drama.

David Harbour fares slightly better as Gunny Lefferty. Harbour brings his signature gruff charisma to the role, but his screen time is limited. His character hints at an intriguing backstory, but the film never fully explores it, which is a shame seeing as how he’s such a great actor.

The villains are serviceable but forgettable. The Russian mafia antagonists, including Dimi and the sadistic traffickers Viper and Artemis, are standard-issue bad guys with little depth. They serve their purpose as threats to be eliminated, but there’s nothing particularly memorable about them.

Ayer’s direction ensures that A Working Man feels grounded and visceral. The action is gritty and violent, emphasizing bone-crunching realism over flashy choreography. While this approach works for the film’s tone, it also makes the combat feel repetitive after a while. The lack of variety in action set pieces—mostly small-scale fights and quick executions—means that the film doesn’t have the adrenaline-pumping highs of a top-tier action thriller.

Visually, Ayer maintains his signature aesthetic of dimly lit urban environments, grainy textures, and a muted color palette. It effectively conveys the bleakness of the criminal underworld, but at times, the film feels visually monotonous. A few more dynamic set pieces—perhaps a chase sequence or a more elaborate shootout—could have helped break up the rhythm.

Ultimately, A Working Man delivers exactly what one would expect from a Jason Statham-led revenge thriller. It’s a competent, no-nonsense action film with solid performances and brutal fight scenes, but it never quite rises above its formulaic plot and underdeveloped supporting characters. Fans of the genre and Statham’s brand of action will find enough to enjoy, but those looking for something fresh or emotionally engaging may come away underwhelmed.

While the film doesn’t do anything particularly wrong, it also doesn’t do much to distinguish itself. Ayer’s direction is competent, but it lacks the character-driven grit that made his best films stand out. Statham is great in the lead, but the story doesn’t give him much depth beyond being a relentless force of vengeance. With a more compelling script and better-developed characters, A Working Man could have been a standout thriller rather than just another entry in Statham’s long list of tough-guy roles.

A Working Man is a serviceable action thriller that benefits from Statham’s presence but suffers from a predictable plot and underutilized supporting characters. It’s not bad, but it’s also not particularly memorable. If you’re in the mood for a straightforward, no-frills revenge story with solid fight sequences, it’s worth a watch. But don’t expect it to leave a lasting impression.