‘The Equalizer 3’: Denzel Washington’s Farewell 

To the surprise of many, "The Equalizer" series has concluded. "The Equalizer 3," released in early September, serves as the final instalment as Denzel Washington, nearing his seventies, bids farewell to his role as the protagonist, Robert McCall.

The good news is that the film not only grossed $168 million globally but also boasts a 75% fresh rating on Rotten Tomatoes, surpassing the 61% and 52% of the first and second instalments, respectively. Even without the influence of nostalgia, international audiences show a preference for "The Equalizer 3" rather than criticizing it. What makes this action film, which is on par with "John Wick," a notable conclusion to the series?

In the first two movies, McCall hardly made mistakes and always came out on top. However, "The Equalizer 3" takes a different turn as McCall faces a close call right from the start. While easily handling a group of Italian drug traffickers with his unique "countdown to death" method, McCall successfully deals with these criminals. Yet, as he gets ready to leave, he falls prey to a young boy who shoots him in the back. McCall didn't ignore the boy; he simply underestimated his skills and cleverness, allowing him to leave unattended and dealing with the consequences.

This allegorical opening scene sets the theme for "The Equalizer 3": punishment and redemption. McCall emerges not only as an enforcer of justice but also as a recipient of punishment in this instalment. Similarly, he arrives as a redeemer but becomes redeemed by others. The "others" include the police officers who escort the critically injured McCall to a doctor's house and the kind residents of the Sicilian island. The main storyline revolves around McCall recovering on the island, gradually becoming familiar with and forming intimate connections with its inhabitants. In the past, although McCall had good relationships with colleagues at the furniture store and neighbours, he was more immersed in memories of his late wife, portraying a solitary, middle-aged man – a significant label on McCall.

In "The Equalizer 3," McCall puts the watch symbolizing "slaughter" into a drawer and goes to the church daily, seeking inner peace. Moreover, he unprecedentedly "falls in love" and goes on seaside dates with the owner of a coffee shop. This doesn't mean "The Equalizer 3" abandons its essence of "seeking justice." The island's residents are still subjected to oppression and bullying, with the Mafia's "Carmela" not only clashing with the locals but also disregarding the local police.

McCall originally intended to retire entirely but is compelled to use force again, single-handedly eliminating the entire Mafia stronghold to protect the island's tranquillity. Regarding Dakota Fanning's portrayal of the female agent Collins, even though she is investigating drug smuggling in a separate storyline, it contributes to enhancing McCall's image. It emphasizes his seemingly divine omniscience and omnipotence. As the concluding chapter of the trilogy, the film holds special significance in character development. In the initial two films, McCall resembled an instinct-driven "avenger," never questioning his actions. The moral dilemma of "vigilante justice" didn't previously create an inner conflict for McCall.

However, in this film, why does McCall contemplate suicide after being shot? Why does he frequent the church? The reason is that all his previous killings were for the sake of "justice," making the most direct and efficient means of slaughter McCall's preferred choice. However,when McCall ultimately takes down the mob boss at the start of "The Equalizer 3," he visibly takes pleasure in the act. As he watches the mob boss crawl in agony, McCall torments him slowly with a gun. This psychologically intense moment is apparent from the ominous gaze McCall gives under the bright light.

However, these are not the crucial points. The focus is on the "death game" he orchestrates,allowing the young boy to hear and imagine, ultimately unleashing the brutality within him. In other words, McCall contemplates suicide because he realizes that he turned a boy into a demon. This is the reason he frequents the church for prayers, and the imagery of murder haunts his mind. In a sense, the first half of "The Equalizer 3" delves much deeper into the thematic exploration of McCall's psyche than the preceding two films. Paired with Denzel Washington's nuanced performance, it has become a standout in recent years for crime film protagonists.

However, aside from this, the film needs to catch up in action sequences and the portrayal of antagonists. The movie concentrates on only three major action scenes – the initial drug dealer massacre, a trial run to eliminate four gang lackeys, and the final assault on the Mafia headquarters. While the first two "The Equalizer" films retained elements of brutal and intense violence, the reason for the R rating of the film is that the three scenes in this instalment heavily rely on rapid and slick editing to create a sharp action style. Lengthier and more challenging hand-to-hand combat scenes are noticeably absent, akin to the gripping furniture store showdown in the first film or the intense showdown in the hurricane-ravaged town in the second. This makes McCall's victories appear too easy, lacking challenge, and the few Mafia antagonists are uninspiring.

In the first film, the Russian enforcer had an air of mystery. In the second instalment, Pedro Pascal's portrayal of the CIA operative had identity twists and a complex character arc. The Mafia in "The Equalizer 3" becomes a feeble symbol of ruthless brutality, lacking any intimidating presence. The comprehensive drop in the villain's intelligence directly downgrades the film's tone.

Many loved "The Equalizer" series because of McCall's contrasting charm of a "compassionate monk with devilish methods." His legendary aura stems from reading books reminiscent of a suffering older man while simultaneously eliminating evil like a martial arts hero. However, the earliest version of McCall was different. The original story of "The Equalizer" comes from the 1985 series "The Equalizer," which aired for four seasons before being cancelled during its fifth. In this early series, McCall, although still fighting against evil and standing with the vulnerable, had an old-fashioned British special agent demeanour, starkly different from Washington's portrayal.

In 2010, Russell Crowe, known for "Gladiator" and "A Beautiful Mind," expressed interest in bringing "The Equalizer" story to the big screen. However, a year later, Denzel Washington was confirmed by Sony Pictures Entertainment Inc. as the actor for McCall, with the addition of long-time collaborator Antoine Fuqua. Together, they embarked on "The Equalizer" adaptation in 2014. Additionally, a reboot of the TV series "The Equalizer" in 2021 has aired in three seasons, but its quality has not garnered much attention.

Indeed, the "The Equalizer" trilogy featuring Washington has garnered widespread acclaim in the Hollywood action film market over the past decade, and this is not an isolated occurrence. Earlier series like Liam Neeson's "Taken" or Keanu Reeves' "John Wick" also received favourable responses. These seasoned Hollywood action stars have emerged as central figures in the action film genre in recent years due to a lack of successors in the Hollywood film industry and significant changes in the style of action films. The allure and enduring appeal of old-school action film stars such as Arnold Schwarzenegger, Sylvester Stallone, Bruce Willis, Denzel Washington, Liam Neeson, and Keanu Reeves continue to hold sway. In contrast, the new generation of male stars has yet to undergo the rigorous training seen in action films of the '80s and '90s, so they primarily establish their reputation insuspense, science fiction, and drama genres.

This phenomenon extends to actors like Jesse Eisenberg, Adam Driver, and even Robert Downey Jr. Although these seasoned actors may struggle with physical demands as they age, modern action films no longer require the same intense physicality seen in movies like "First Blood" or "Commando." Instead, they can rely on special effects, cinematography, editing techniques, and even elaborate lighting and set design to mask physical shortcomings. This is evident in the "The Equalizer" and "John Wick" series.

Nevertheless, even in action films that no longer depend on physicality, the burden on aging actors remains a last-resort strategy. This might clarify why Keanu Reeves opted to "retire" in"John Wick 4" and why Denzel Washington decided not to proceed with further instalments of "The Equalizer." These seasoned action film stars will eventually bow out from the stage they have dominated, marking the conclusion of their illustrious careers.