A Working Man (2025)

Ebiri finds the film an exuberant, visually enchanting celebration of action, with a more emotional undercurrent than expected. He especially praises Jason Statham’s comic, menacing screen presence and the film’s imaginative, fairy-tale-like violence.

Scheck finds the actioner formulaic but effective, with some repetitiveness and an overlong runtime. He singles out Jason Statham’s simmering charisma and David Harbour’s distinctive, amusing performance as highlights.

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Ehrlich finds the film absurd, sloppy action schlock that nonetheless works as a vehicle for Jason Statham’s screen persona. He praises the colorful supporting cast and the softer, more vulnerable dimension of Statham’s performance.

Grierson describes the film as a workmanlike actioner, suggesting a competent but unexceptional verdict. The headline foregrounds Statham’s action performance, while the standfirst notes Stallone’s co-writing credit.

Strong dismisses the film as a forgettable, humourless action slog. She singles out its baffling human-trafficking plot and repetitive violence as evidence of its weak storytelling.

The critic calls it a pedestrian, overlong thriller. They fault its predictable plotting and unimaginative action choreography.

Smith argues the film is a monotonous, politically retrograde entry that fails to stand out among revenge films. He criticizes its treatment of PTSD and praises occasional flashes of camp and humor.

Nicholson finds the film an uneven mix of solemnity and outlandish visual quirks, with its construction-worker premise quickly giving way to familiar special-ops violence. She praises Arianna Rivas for giving the kidnapped Jenny an active role and playing the improbable character with aplomb.

Ide finds the film’s action entertaining but says its humor is buried beneath an overly serious tone. She particularly faults the ponderous dialogue and David Ayer’s portentous direction.

Debruge calls the film a competently made but forgettable rehash that relies on familiar vigilante-action formulas. He singles out Statham’s physicality and quick thinking as effective within that routine setup.

Zigler finds the film tiresome, overlong, and too predictable to deliver the dumb fun it seems to promise. She singles out occasional absurd comic moments and satisfying fight choreography as brief bright spots.

The review is strongly negative, calling the action thriller dopey and weighed down by clichés. It singles out the film’s chopped-up storytelling and familiar action-movie tropes as weaknesses.

The critic finds the film witless, tedious, and devoid of fun. Statham remains convincing on screen, but the flat action and frantic editing undermine the experience.

Robertson finds the film more enjoyable and less regressive than its source novel, though it remains a derivative action picture. He praises Arianna Rivas for turning the missing-girl character into a person, while finding much of the action pedestrian.

Hammond finds the film a familiar, tightly paced Statham action vehicle with little depth, but says the star remains eminently watchable. He praises David Harbour’s brief change of pace as Gunny and notes that newcomer Arianna Rivas does well as Jenny.

The critic finds the film a disappointing, generic action movie that falls short of its potential. They praise David Harbour’s brief supporting turn and the film’s gonzo final act for bringing welcome warmth and levity.

The critic finds the film entertaining for fans of blunt action but ultimately hollow and lacking substance. The raw fight choreography earns praise, while the screenplay’s tough-guy dialogue is singled out for ridicule.

The critic finds the film formulaic and less entertaining than its predecessor. They praise the costumes and Michael Peña’s presence, while faulting the pacing and familiar action-story beats.

The review finds the thriller dull, overlong, and tonally unconvincing, with its convoluted mob subplot dragging down the story. It praises the entertaining finale, where Statham’s action finally livens things up.