Robert McCall finds himself at home in Southern Italy but he discovers his friends are under the control of local crime bosses. As events turn deadly, McCall knows what he has to do: become his friends' protector by taking on the mafia.
- Zokkiie17. april 2026Hmm yeah, this one lands somewhere in the middle. It’s got a solid vibe and a few moments that hit just right, but it never fully kicks into something memorable. The pacing drags a bit, and it feels like it’s holding back when it should be going all in. Tiny bit better than the second one, though, mostly because the atmosphere is stronger and it feels a bit more focused. Amazing to see Denzel Washington and Dakota Fanning reunite after Man on Fire, but we really needed more of them together. Their chemistry is still there—it just isn’t used enough. Overall, decent watch, just not one I’d rush to revisit.
- Shaydeknight1. januar 2026Of the three Equalizer films, The Equalizer 3 is, in my view, the weakest. Antoine Fuqua's direction has actually improved. The film is cleanly shot, well paced on a scene-to-scene level, and visually confident, so that's not the problem. Nor is Denzel Washington the issue. He remains an immensely credible screen presence, and it is frankly remarkable that he carried this film at roughly sixty-nine years old during production. His physical authority and emotional control are still there, and nothing about his performance feels lazy. The film falters elsewhere. The plot is astonishingly simple, to the point that it feels deliberately dumbed down. What once felt like a morally driven thriller with layers of restraint, obligation, and reluctant violence has been reduced to something almost schematic. There is very little narrative complexity, very little mystery, and almost no sense that events could unfold in an unexpected way. The story proceeds exactly as you assume it will, and that predictability drains tension rather than building it. Visually, the film is gorgeous. The Italian setting (primarily the coastal town of Atrani which is called "Altamonte" in the film) is undeniably beautiful. Fuqua makes good use of the location with strong establishing shots, patient camera work, and a real appreciation for the geography of the place. The film knows how to let the town breathe, and for stretches it almost convinces you that this quieter, more contemplative setting might lead to a more reflective story. Unfortunately, this is where another major problem emerges: the film is not interested in how Europe actually is, only in how Hollywood imagines Europe to be for American audiences. It leans heavily into a postcard version of southern Italy that feels curated, simplified, and vaguely patronizing. The rhythms of daily life, social dynamics, and cultural boundaries are smoothed over in favour of an almost touristic fantasy of instant belonging and uncomplicated warmth. There are two moments (handled here obliquely, to avoid spoilers) that exemplify this. In one, the film suggests that a newcomer can be absorbed into a small European village with surprising speed, accepted as "one of us" after what feels like a matter of days. Anyone who has lived in, or even closely observed, small communities anywhere in the world knows how implausible that is, whether in Italy or the USA. Insularity is not cruelty; it is simply how human groups work, and acceptance is earned over years, not bestowed by narrative convenience. In another scene, meant to convey cultural generosity, one character decides to show McCall the local cuisine. Now, Italians are famously uncompromising about their food, and the idea that a local would proudly introduce a visitor to "authentic" regional food only to serve him a kebab (a Turkish dish) strains credibility past the breaking point. No Italian that I know would ever do that. These moments may seem minor, but together they reveal a fundamental lack of cultural specificity. The setting becomes merely decorative rather than realistic which can be alienating. The treatment of Robert McCall himself is another significant downgrade. In the first two films, he was portrayed as a disciplined professional: a man with violent skills who enters conflict reluctantly, driven by a moral code and a sense of responsibility toward the vulnerable. Here, that view of the character is largely gone. Without sufficient justification or introspection, he comes across less as a reluctant guardian and more as a man who simply enjoys the work, with a nigh-psychopathic air to him. The difference is subtle but crucial, and it shifts the character from morally complex to uncomfortably unhinged. The central criminal storyline suffers from the same oversimplification. The antagonists are thinly sketched, almost cartoonish, and lack any meaningful interiority. Their goals are generic, their menace abstract, and their connection to the town feels imposed rather than organic. The film attempts to personalize this threat through individual victims and relationships, but those efforts never quite compensate for how hollow the overarching conflict feels. There is nothing especially personal at stake, and without that, the violence loses its emotional charge. Compounding this is a parallel subplot involving Dakota Fanning whose narrative thread is clearly intended to add thematic depth and institutional context. In practice, it does very little. The connection between this storyline and McCall's experience in Italy is tenuous, and when the two threads intersect, there is no meaningful payoff. Fanning does a fair job, her character is competently performed, but the role itself feels like padding, an attempt to suggest a larger world without actually enriching the story we are watching. In the end, The Equalizer 3 is a film that looks better than it is. It benefits from a beautiful location, solid direction, and a lead actor who remains compelling well into his late sixties. But it is undone by a simplistic plot, a shallow understanding of its setting, a weakened conception of its protagonist, and narrative threads that promise depth without delivering it. What was once a tense, morally driven franchise has drifted into something flatter, easier, and far less engaging.
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The Equalizer 3 ble utgitt 30. august 2023.
The Equalizer 3 ble regissert av Antoine Fuqua.
The Equalizer 3 har en spilletid på 1t, 48m.
The Equalizer 3 ble produsert av Denzel Washington, Todd Black, Jason Blumenthal, Steve Tisch, Antoine Fuqua, Michael Sloan, Alex Siskin, Clayton Townsend, Tony Eldridge.
Robert McCall finds himself at home in Southern Italy but he discovers his friends are under the control of local crime bosses. As events turn deadly, McCall knows what he has to do: become his friends' protector by taking on the mafia.
Hovedpersonene i The Equalizer 3 er Robert McCall (Denzel Washington), Emma Collins (Dakota Fanning), Gio Bonucci (Eugenio Mastrandrea).
The Equalizer 3 har aldersgrensen R.
The Equalizer 3 er en Action, Crime, Thriller.
The Equalizer 3 har en publikumsvurdering på 9.4 av 10.
The Equalizer 3 hadde et budsjett på USD 70 mill..
The Equalizer 3 har tjent USD 191,1 mill. på kino.