The Beekeeper

Clay dispatches his adversaries with characteristic Statham aplomb, which, apologies to Nicole Kidman, is why we come to this place.

Much of it is illogical, preposterous over-the-top ridiculous, which is what makes it such a guilty pleasure and one of Statham’s and Ayer’s best films.

Off we go. Like, way off, leaving even the notion of reality behind like a burned-out barn full of busted honey jars. In its place, a hero who makes James Bond look inconspicuous and John Wick look vincible.

This wacky bit of action fun is wildly entertaining and zips by with the good-natured buzz of a bumblebee. If this is your kind of dumb-movie honey, it’s delectable.

It’s Statham’s movie – a brisk, slick, ultra-violent action onslaught that yet again demonstrates his ability to redeem just about any old tosh.

The shame is that there are flickers of greatness here. Statham, in action, is thunderously convincing. In character, he’s pleasingly ironic.

The Beekeeper clearly knows what sort of film it is, and makes no effort to hide it.

Like the perspective of the protagonist who maintains certain traditional ideals, the film outlines a forceful criticism of the models of pyramid schemes and of the young generations.
Once again Statham's star text legitimizes him as a hero of the action

... a sleek action thriller driven by Statham’s particular set of skills: a fierce directness of action, seemingly unstoppable momentum, the ability to deliver countless bee metaphors and puns without cracking a smile ...

It is an action thriller that starts off in a fast-paced manner, but whose plot, in its conventional scheme, travels through predictable areas that leave traces of the most absurd clichés. [Full review in Spanish]