London Calling is the kind of action comedy that knows exactly how ridiculous it is and leans into that absurdity with unapologetic enthusiasm. Starring Josh Duhamel as a weary, sharp-edged hitman whose life is unraveling at high speed, the film blends bullets, banter, and unexpected sentiment into a chaotic but entertaining ride. It is not a movie that strives for subtlety. Instead, it barrels forward with loud confidence, trusting that charm and chemistry will smooth over its rough edges.
Duhamel plays Tommy Ward, a professional killer whose career takes a disastrous turn after a job goes spectacularly wrong. Suddenly hunted and desperate to get back to London to reconnect with his estranged son, Tommy finds himself forced into an uneasy arrangement. To earn safe passage and settle a dangerous debt, he must mentor Julian, the awkward teenage son of a crime boss. What begins as a bizarre work experience arrangement quickly escalates into a violent and darkly comic adventure through Los Angeles.
The premise alone sets the tone. This is a film that thrives on contrast. Tommy is grizzled, emotionally guarded, and running on instinct. Julian is intelligent but socially clumsy, more comfortable behind a computer than holding a weapon. Watching these two characters collide provides much of the film’s comedic momentum. Their partnership feels like a collision between two entirely different worlds, and the movie mines that tension for both laughs and surprisingly heartfelt moments.
Josh Duhamel proves once again that he has an underrated gift for balancing toughness with vulnerability. Tommy could easily have been a one-note action figure, all grit and scowls. Instead, Duhamel gives him depth. Beneath the hardened exterior is a man who knows he has made mistakes and is running out of time to fix them. His longing to reconnect with his son gives the character emotional stakes that elevate the story beyond pure mayhem. Even when he is dispatching enemies or trading sarcastic insults, there is a flicker of regret behind his eyes.
Jeremy Ray Taylor, as Julian, provides the perfect counterweight. He plays the teenager with an endearing mix of eagerness and anxiety. Julian is not a caricature of awkward youth. He is intelligent, perceptive, and desperate to prove himself to a father who barely notices him. As Tommy drags him into increasingly dangerous situations, the absurdity of the setup is undeniable, yet Taylor grounds it with genuine emotion. His reactions feel real, whether he is terrified, exhilarated, or slowly gaining confidence.
The chemistry between the two leads is the film’s greatest strength. Their exchanges are sharp without feeling forced. The humor often comes from their mismatched perspectives. Tommy approaches problems with blunt pragmatism, while Julian overthinks every move. In quieter scenes, when the guns are momentarily holstered, the film finds space for connection. There are conversations about fatherhood, regret, and expectation that resonate more deeply than one might expect from a movie built around shootouts.
Director Allan Ungar keeps the pace brisk, rarely allowing the narrative to stagnate. Action sequences are staged with kinetic energy. Car chases tear through city streets, gunfights erupt with sudden intensity, and hand to hand combat is filmed with a gritty immediacy that makes every punch feel heavy. The film embraces a slightly heightened tone, almost comic book in its flair, yet it never drifts entirely into parody. There is always a sense of tangible risk, even if logic occasionally takes a back seat to spectacle.
The screenplay does not reinvent the action comedy formula. There are familiar beats throughout. The reluctant mentor, the misfit partnership, the final confrontation that tests loyalty and growth. Yet the film’s self awareness helps it avoid feeling stale. It understands that its story is built on recognizable tropes and instead focuses on execution. Quick dialogue, exaggerated situations, and committed performances keep the material lively.
That said, the film is not without flaws. Some supporting characters are sketched broadly, functioning more as obstacles than fully realized individuals. Certain plot developments hinge on coincidence rather than careful setup. There are moments when the humor feels slightly overextended, as if the film is pushing too hard for a laugh. A tighter script might have sharpened these edges and given the emotional arcs more room to breathe.
Violence is frequent and sometimes excessive. Gunfire erupts in nearly every major sequence, and the body count climbs rapidly. For some viewers, the sheer volume of action may feel overwhelming. Yet this relentless energy is also part of the film’s identity. It does not aim for realism so much as heightened entertainment. The chaos is deliberate, a stylistic choice that defines the movie’s personality.
What ultimately lingers after the credits roll is not a specific stunt or joke, but the relationship at the center. Tommy and Julian’s unlikely bond gives London Calling its heart. The story suggests that mentorship can run both ways. While Tommy teaches Julian about confidence and decisiveness, Julian forces Tommy to confront his own emotional avoidance. In helping the teenager find his footing, Tommy inches closer to repairing his relationship with his own son.
London Calling may not redefine the action comedy genre, but it delivers exactly what it promises. It is loud, irreverent, and propelled by strong central performances. Josh Duhamel carries the film with rugged charisma, while Jeremy Ray Taylor injects it with youthful sincerity. Together they transform an outrageous premise into something unexpectedly human.
In the end, the film feels like a high speed ride that occasionally pauses just long enough to reveal something genuine beneath the noise. It embraces chaos, humor, and sentiment in equal measure. For audiences willing to accept its exaggerated world, London Calling offers a thoroughly entertaining mix of adrenaline and heart.
London Calling is now available to own on DVD.
Comments