In Sicily, an Italian drug lord and his child arrive in a jeep at a secluded villa. The bloody, mutilated corpses of an army of villains are strewn about a rustic courtyard that would make an ideal vacation spot when the weather permits. The man got out of the Jeep with a pistol and left his child inside. When he and one of his henchmen entered the house, they discovered more corpses, and the cause of death became increasingly gruesome, with bullets riddled with bullets and faces cut open with butcher knives Robert McCall (Denzel Washington), a famous hitman turned ghost sits, beneath two gunmen. Is McCall a prisoner or are they them? Of course, he easily kicks them out and grabs a set of keys holding what McCall came to retrieve from the dead drug lord's body.

You'll never guess what kind of mundane package McCall gets after killing an army of killers. But that doesn't really matter. The hamster MacGuffin is useless for the rest of the movie, but this opening scene is a great reminder of where this once-fun, basic action series went wrong, from the stomach-churning violence to its reliance on unrealistic effects. It shows what has happened.

Directed by Antoine Fuqua, The Equalizer 3 is not only expected by many to be the last film in the series. This is the fifth time the director and Washington have worked together. Their partnership is puzzling at first glance. Indeed, their first collaboration together , ``Training Day,'' Washington earned his only Best Actor Oscar. But since that victory, their succession of films has only gotten harsher and stupider. What on earth does Washington make of these movies? This relationship is evident in the eight photos that Anthony Mann and Jimmy Stewart took together, with Stewart shutting out Mann's locus of prestige, good-guy image, Mann's mannerisms, and Mann's liberated Explore the dark stories of Western movies.You can tell Washington feels the same joy here, not caring if the audience experiences the same sense of adventure as he does.

Because, make no mistake, “The Equalizer 3” is hot garbage. This is also Fuqua and Washington's fascinating but unsuccessful attempt to make a Mann Stewart movie themselves. Consider how the Western genre taints this picture. Severely injured during a raid on the villa by McCall, he is discovered by local police officer Gio (Eugenio Mastrandrea) and taken to a quaint Italian seaside village, where he meets a man named Enzo (Remo Girone). A local doctor treats the killer's wounds. While recuperating in a quiet town , McCall learns to love people and the peace they provide. Marco (Andrea Dodero), a local young gang leader, is closing in on them, but McCall says he's just passing by and would rather avoid intervening.As in other Westerns, when push comes to shove, McCall protects them while teaching his acquiescents how to stand up to their oppressors.

Fuqua and cinematographer Robert Richardson (Platoon, A Few Goodman) provide further Western detail through chiaroscuro lighting. Washington's silhouette suggests danger, and his exhausted frame represents his close relationship with death. Richardson also captures his actors from extreme low angles, similar to John Ford , creating heroic compositions. But the problem is, they made McCall so brutal that I'm not sure we should support his murder. It's natural for the character to show more brutality, but after all, in the first "The Equalizer," he was once a serene, reclusive man, and now he's completely covered in blood and guts again. He has become a man. Even Washington can't quite grasp the coherence, especially when the script is so weak.
The main subplot sees Dakota Fanning reunited with Washington, who previously starred in Man on Fire, this time playing CIA agent Emma Collins. McCall calls Collins' desk to give him a tip that could change his career. That information of hers takes her pointlessly from call center duty to field work. Despite this, her arc is downright bad. She never proves herself to be involving a competent agent, and her case an Italian drug organization has little to do with McCall's stay in the village. Fanning unsuccessfully tried to play the role of Jessica Chastain in Zero Dark Thirty, so she seems too much of a counterbalance in the few scenes in which the two co-star.

I'd like to say the action is better, but the direction lacks imagination. Editing is not smooth. The score sounds rote. The film prefers to paper over its limp choreography and make it gory and gruesome rather than create something memorable. The movie's only saving grace is how much fun Washington seems to have. He makes some surprising decisions that are so random that they feel like outtakes at first. Is he still playing McCall as a grieving widow, or does he want to push this character further psycho into pathic territory?

It's become old (and in some ways lazy) to compare every modern action movie to "John Wick," but the series, which started the same year as the first "John Wick," It struggles to evolve as much as Keanu Reeves movies have . This trilogy has no emotional core, no narrative continuity, and no enjoyment of the genre it calls home. Rather, The Equalizer series is tragically uneven in its succession.