Samaritan Review

Sylvester Stallone remains a peculiar figure in Hollywood, with a face like it was carved in scoria and a portfolio consisting of rippled chests and dead bodies. But he is a surprisingly effective actor as seen in the likes of his Rocky pictures (or even the first Rambo), but in his latest, a brooding superhero film "Samaritan," he brings his dramatic chops as well as his penchant for violence.

It's more "Death Wish" than "Spiderman." In other words, it's a superhero movie for old white guys.

He plays Joe, a trashman who, after saving his neighbor Sam (Javon 'Wanna' Walton) from a group of thugs, spends his time trying to convince the boy he's not Samaritan, a superhero who disappeared twenty five years ago. He might just be his number one fan. There is little mystery as to whether or not he's not just human, crushing a knife with his bare hands and tossing baddies like they were pieces of rogue popcorn fallen on your shirt.

The backstory tells us that Samaritan's nemesis, Nemesis, was also his brother, both of which were outcast by their city growing up. After their house was set on fire, the siblings escaped but their folks did not, and the two took different paths, one who saved people and the other who, well, hurt them. Nemesis, ticked off at his brother's forgiveness, forged a hammer out of his hatred, said to be the only thing that could kill Samaritan. Of course, the legend says either both died or that Samaritan killed Nemesis, when the latter tried to blow up a powerplant, but which tale is true, if either? 

Much of this is told in the opening minutes, with a heavy filter to make the live-action look like a moving comic book, and though it is a gimmick that's over too soon, it sets tone for the rest of the narrative; this is not the candy-colored Marvel movies that blow up the box office every few months. It has a more pessimistic view on those with special powers, with a gloomy look like DC, if only they were this consistent.

By seemingly not trying to set up a massive franchise, "Samaritan" operates as a smaller, self-contained story in a place called Granite City, you don't feel like you're playing catchup with Easter eggs and cameos to set up the next installment. We get to know the characters, and even when their motives are as basic as "bad guy go do bad things," we look forward to seeing totally-not-Rocky-or-Rambo smash his face in.

A lot has to do with some effective casting, not just by Stallone, who is terrific as always, but also Pilou Asbæk, who plays local gang leader Cyrus. His plan is to finish what Nemesis started by wearing his mask and wielding his weapon, but he chews the scenery with a hunger like he didn't know there was catering on set. Little Walton is pretty good too, portraying a child who's fixation on his one true obsession can make him be petty, annoying, or just ignorant. Sometimes all of them at once.

Cyrus turns the town upside down, with vague promises of "taking back what's yours," to the denizens who's frustrations with the city's problems are at their breaking point. But between the real-world inflation and gun violence, there is little left to the imagination with the random chaos in the streets, everyone looting and vandalising indiscriminately. The PG-13 rating keeps any of the more unsavory rioting possibilities hidden, like rape or murder, but there is more timely mayhem onscreen than one may expect from a Stallone project.

I'm giving "Samaritan" three stars because it does something different for the genre, even when it's ambition gets the better of it; several scenes are set in a burning building when its budget clearly couldn't afford the special effects. I also appreciated Sylvester taking the time to help craft someone other than his most famous characters. It doesn't always work, but in its own low-key way, it's a blast.