The Beekeeper Review

David Ayer’s The Beekeeper positions Jason Statham as a vigilante out for justice in a story that’s as ridiculous as it is brutal. The film, a hybrid of action-thriller tropes and B-movie chaos, presents Statham’s character, Adam Clay, a former secret operative turned beekeeper who embarks on a violent rampage after a phishing scam results in the tragic death of his landlady, Eloise (Phylicia Rashad). The film is heavy on action and light on depth, with Statham doing what he does best — kicking ass, shooting guns, and playing a stoic, morally ambiguous hero.

Statham is magnetic, his minimalist performance serving him well as he embodies the seemingly invincible Clay, a character whose past as a government agent makes him a one-man army taking down a variety of bad guys — ranging from low-level scammers to corrupt higher-ups. The physicality of his performance is undeniable, and it’s clear that Ayer knows how to frame action sequences with clear choreography, but unfortunately, the rest of the film falls apart under the weight of its absurd premise.

The plot, which revolves around Clay’s quest for revenge against those who scammed Eloise, is paper-thin and stuffed with unnecessary subplots that add little to the narrative. The film introduces Phylicia Rashad’s character, a tragic figure, only to kill her off in the opening moments, forcing Adam to act on his behalf. While the revenge storyline could be compelling, it’s weighed down by tedious scenes involving FBI agent Verona Parker (Emmy Raver-Lampman), whose presence is mostly baffling. She’s introduced as a character with potential but is sidelined by a script that never fully explores her motivations, reducing her to a mere foil for Adam’s relentless rampage.

The film’s villains, notably Josh Hutcherson as the slimy tech bro Derek and Jeremy Irons as his jaded former CIA mentor, add little to the story except for the occasional cringe-worthy line delivery and ridiculous character arcs. Hutcherson, in particular, seems to be enjoying playing the villainous rich kid, but his role is far too one-dimensional to make an impact. Irons, a veteran actor, is wasted in a role that doesn’t allow him to bring any real depth to his character.

Ayer and screenwriter Kurt Wimmer try to infuse The Beekeeper with a deeper sense of purpose by exploring the world of data mining and corruption, but these themes are handled poorly, often coming off as half-hearted attempts to make the film seem more socially conscious than it really is. The bee metaphors, which are hammered home relentlessly, become laughable, and the world-building feels clunky and over-complicated.

At its core, The Beekeeper is an action-packed movie with a high body count and little else. It’s a film that doesn’t take itself too seriously — sometimes to its detriment. While the action sequences can be fun, particularly in their sheer ridiculousness (a notable highlight includes a scene where Statham kills a henchman by launching a truck off a bridge), the overall film feels unbalanced and uneven. The lack of depth in its characters and storylines leaves the audience with little to latch onto beyond the mindless violence.

In the end, The Beekeeper feels like an opportunity wasted. Statham’s performance is solid, and there’s potential in the concept of an unstoppable antihero taking down systemic corruption, but the film never fully commits to its premise. The violence becomes repetitive, and the over-the-top moments are more grating than exciting. It’s an action movie with a little more swagger than substance, making it a forgettable entry in the genre that fails to elevate itself beyond the typical January action fare.