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Such surroundings are slightly, but only slightly, more crass than Teddy (Marton Csokas), the Russian sent to finish Robert after Robert has finished with assorted other Russians.
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The décor, too, tends to warrant horrific devastation: the pimp’s office is full of skulls, an alley where Robert confronts bad cops is deeply shadowed and strewn with trash and, a meat-packing plant doubles as a drug-prep facility, so as to feature half-cows hanging from hooks. The lenses are wide, the colors are red and brown, the instruments of penetration sharp and shiny. More than once, Robert enters a space filled with bad men, takes their measure in a moment that begins with a close-up of his pupil, which in turn reflects the about-to-be-dead-guys, inevitably bearded or ponytailed.įrom here he imagines - and you see - the violence he plans to do, and then you see it again, when he does it.
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Sort of inspired by the 1985-89 CBS series, Antoine Fuqua’s movie is prone to make its metaphors very literal, if also brilliantly choreographed.
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Robert later explains his decision to save her in the cryptic moral code that structures so many avengers’ stories: “One day, someone does something unforgiveable to someone else.” What the pimp does to Teri serves as Robert’s tipping point, sending him into a tizzy of profoundly precise brutality, transformed, apparently, into what he’s gotta be, which is to say, The Equalizer. Next night, Robert learns (via the extraordinarily well informed diner owner) that she’s in a local hospital, nearly dead after a beating by her pimp (David Meunier). You gotta be who you are in this world.”Įrr, okay. This in a conversation that breaks Robert’s routine: Teri sits across from him at his table, her Russian accent and tale of woe making clear that she has no options, despite Robert’s earnest encouragement, offered in the form of his assessment of his book: “Old man’s gotta be the old man, fish gotta be the fish. You and Robert both know what happened, and can imagine what will happen, when she reveals that she fought back. “He saw himself in the fish,” explains Robert, a plot point that kicks into gear when Teri arrives at the diner one night with a black eye. And yes, the Hemingway reference looms large. Robert’s scrupulous ritual and kindness toward Teri are revealed early in The Equalizer, just a couple of minutes after you’ve watched him not sleeping in his spartan apartment, washing a single dish, and riding the bus to work, a Home Depot-style warehouse where he’s a prudent mentor for younger employees. This night, it’s The Old Man and the Sea. As she digs into her slice of dessert, Teri glances over at a table by the window, where she sees a regular, Robert (Denzel Washington): as always, he sits silently, his silverware and plate arranged just so, a book in hand. She wears a cheap wig, lots of makeup, and a short skirt, which is to say, she’s a prostitute. He is The Equalizer.“Did he get the fish yet?” Teri (Chloe Grace Moretz) sits at the counter in a Boston diner, late at night. If someone has a problem, if the odds are stacked against them, if they have nowhere else to turn, McCall will help.
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Armed with hidden skills that allow him to serve vengeance against anyone who would brutalize the helpless, McCall comes out of his self-imposed retirement and finds his desire for justice reawakened. But when McCall meets Teri (Chloë Grace Moretz), a young girl under the control of ultra-violent Russian gangsters, he can't stand idly by - he has to help her. Plot : In The Equalizer, Denzel Washington plays McCall, a man who believes he has put his mysterious past behind him and dedicated himself to beginning a new, quiet life.
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