Gareth Evans, known for films like *The Raid* and *Apostle*, completed filming the action thriller *Havoc*, starring Tom Hardy, in 2021 for Netflix. However, as with any film project, reshoots were necessary. Production delays due to scheduling conflicts and the SAG-AFTRA strike meant that *Havoc* remained largely unseen until its eventual release on Netflix in 2025, accompanied by minimal promotion. Patrick Walker (Hardy) is a homicide detective who has sacrificed everything for his job, leading to significant personal losses. The story unfolds in an unnamed American city steeped in corruption. It’s Christmas Eve, and Walker is estranged from his ex-wife and unable to see his six-year-old daughter due to his reputation as someone deeply flawed. A group of thieves attempts to steal a truckload of washing machines filled with cocaine, intending to settle a debt with a local Chinese crime syndicate led by Tsui. The operation goes awry when masked gunmen attack the scene with assault rifles, killing everyone including Tsui. Two surviving thieves, Charlie (Justin Cornwell) and Mia (Quelin Sepulveda), are implicated in the massacre, though Charlie happens to be the son of mayoral candidate Lawrence Beaumont (Forest Whitaker). Walker has previously undertaken clandestine assignments for Lawrence and now seeks a clean break, agreeing to locate Charlie as his final favor. However, Tsui’s mother (Yeo Yann Yann) is driven by vengeance for her son's death. *Havoc* incorporates significantly more visual effects than Evans’ previous *The Raid* films, though the quality of these effects varies. The unnamed city has a gritty atmosphere, and the use of colored fluorescent lighting creates striking visuals during the film’s numerous car chases. Some viewers may notice what appears to be Tom Hardy's face digitally altered during fight sequences; this is likely due to the presence of three stunt doubles credited in the cast (one for driving and two for action). The narrative, or lack thereof, has also drawn criticism. *Havoc* resembles a noir film with a relatively straightforward mystery. The story shares elements with Evans' earlier work, and whether audiences will accept this connection is a matter of personal preference. Despite these shortcomings, I found *Havoc* to be an intense action film that remains gripping throughout its nearly two-hour runtime. While the visual effects occasionally feel out of place—for example, when police cars seem to float along the roads—these moments are fleeting. The film opens with a chaotic car chase involving a semi-truck and several police vehicles. The camera places you directly in the action, amidst crunching metal, shattered headlights, and blaring sirens. This sequence culminates in a washing machine full of cocaine being launched through the windshield of a patrol car. Hardy’s performance as Patrick Walker evokes Eddie Brock but with unrestrained profanity; there's even a moment where he delivers a line reminiscent of Venom’s voice. His portrayal captures a man who seems emotionally detached and focused on one last chance to reconnect with his family. Walker's appearance mirrors that of Eddie Brock from the *Venom* sequels – perpetually disheveled, often carrying a Starbucks cup, and sporting an unkempt look complete with a crooked plaid shirt peeking out from under a black parka. Hardy conveys exhaustion as Walker, evident in his developing five o’clock shadow. A sequence involving masked assailants triggers the film's central plotline, featuring a moment directly inspired by Guy Ritchie’s *Sherlock Holmes*. As Walker arrives at the crime scene, he closes his eyes and mentally reconstructs events. The masked gunmen spray bullets in slow motion, decimating everyone in Tsui’s hideout while Walker observes with grim familiarity as bodies are rearranged. The film's blood effects are largely CGI, which allows for some striking visuals, such as a shotgun blast impacting someone’s face directly into the camera—a feat that would be considerably more challenging to achieve practically. *Havoc* incorporates Evans’ signature style of visceral action sequences (particularly in the club and cabin scenes), but it distinguishes itself through its increased reliance on CGI. Nevertheless, *Havoc* is likely to rank among the best action films of the year.

Source on TMDB