Bullet to the Head Review

2.5 out of 5 stars

Bullet to the Head is as blunt and ridiculous a film as its title suggests. It’s also a film that has a fair amount of expectation, given the action movie history of Sylvester Stallone. However, despite its shortcomings, this action flick was gratifying in the most surprising ways. 

Set in New Orleans, the film features Stallone as hit man Jimmy Bobo – no, not kidding. When his partner-in-crime is murdered, Jimmy squads up with police detective Taylor Kwon, played by Sung Kang (Fast & Furious films), to find out who’s responsible. It’s not the most believable of starts, particularly given that the best we hear about Jimmy’s partner after his death – which is a pretty cool scene – is that he was all right and Jimmy liked him.

Much like my relationship with the film’s plot, Jimmy and Taylor go back and forth between hating and begrudgingly respecting one another. Their warring ideologies come to a head with the issue of whether they should take the criminals in or take them out, with Jimmy favoring the more violent approach.

The various mug shots of Jimmy’s past reveal not only a nostalgia for his Rocky days, but the pattern of being born and bred in the criminal underbelly. His hatred for cops and doing the right thing is apparent. The film doesn’t seek to change Jimmy’s mindset on this. In fact, it’s quite the opposite as is seen in the build-up of the final conclusion.

Part of what comes with the territory of a story that begins at the end, however, is the predictability of certain elements. Yet the film still manages to surprise with the cool ways director Walter Hill crafted the set pieces and cinematography. I didn’t think they would put much effort into it, but we got freeze frames tinged in sublime oranges, as if it were about to catch fire, and the New Orleans style captured in all of its swamp-safe-house and Blues-folk glory.

It’s also noteworthy to mention the international appeal of the headlining characters of the film. Adewale Akinnuoye-Agbaje, who has successfully made a crossover with American audiences from his popularity in the likes of The Bourne Identity and the TV show Lost, plays the man behind the curtain and capitalist-villain Mr. Morel. 

Jason Momoa, as hit man Keegan, held his own when going toe-to-toe with Stallone. Not in acting, as any display of true skills were few and far between here. Momoa merely lays out some of his Game of Thrones realness, trading in his 3-foot braid for a suit with no tie. 

Both Keegan and Jimmy have a similar, as the film calls it, “perverted sense of honor,” which makes for a hilarious collision of testosterone and axes in the end.

It’s a relatively unassuming film with a good blend of humor, action and visual aesthetic. Still, beyond that, the other plotlines don’t matter. The double dealings with real estate, the corrupt cops and Jimmy’s estranged relationship with his daughter serve little actual purpose in the film.

All in all, it had good intentions that just didn’t pay off. A $55 million budget with a $4.5 million opening weekend is an embarrassing confirmation to that. Ultimately, though, any film that has Sylvester Stallone delivering lines like, “What are we, Vikings?” is entertaining enough to be worth at least one watch.