In 2025, A Working Man taps blue-collar chic, like The Beekeeper’s vigilante ethos, but ranks mid-tier in Statham’s oeuvre, below The Transporter’s genre-defining style or Crank’s bold absurdity, yet above Homefront’s generic plot.
I like Jason Statham and his movie genre, so read on with that in mind.
A Working Man (2025) is directed by David Ayer and co-written with Sylvester Stallone. It stars Jason Statham as a former Royal Marine turned Chicago construction foreman who reverts to his lethal skills to rescue the kidnapped daughter of his boss from the Russian mob.
The action thriller extends Ayer and Statham’s The Beekeeper (2024) collaborationand is a middling Statham vehicle, entertaining yet formulaic, and it ranks below The Transporter (2002) or Crank (2006) but above Homefront (2013) – read this as familiar thrills but limited innovation.
Pacing starts strong with a bar fight soundtracked by Dropkick Murphys, but a 116-minute runtime bloats the middle, unlike The Transporter’s tight 92 minutes. Themes of duty, redemption, and blue-collar heroism align with Homefront’s family protection but lack Crank’s chaotic energy or The Expendables’ (2010) team dynamics.
Statham delivers deadpan one-liners (“Let’s play”) and brutal fights, but lacks manic charisma or suave precision showcased in some of his previous movies. He’s less engaging than in The Expendables, where ensemble banter elevated his role.
Rivas stands out, showing resilience, while Peña and David Harbour are underutilized.
Ayer’s direction blends gritty Chicago with a surreal climax (giant moon, torch-lit mansion) but choppy editing obscures fights, unlike The Transporter’s fluid choreography. The movie entertains with visceral fights, van brawls, bar stomps, etc, echoing The Expendables’ raw energy. Cinematography captures blue-collar grit but some of the action feels repetitive. The trafficking theme prompts reflection on justice
Overall, this would surely resonate with Statham fans, like me :), but is not path-breaking.
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