Havoc Review

Action cinema was forever changed when The Raid (also known as The Raid: Redemption) exploded onto the scene. It was a compelling showcase for Pencak Silat as a cinematic martial art, a breakout for its lead actors, and a definitive statement from its writer and director, Gareth Evans. The Welsh-born filmmaker proved—through The Raid, The Raid 2, and the first season of Gangs of London—why he’s considered one of the greatest action filmmakers working today. The sheer brutality he captures on screen is nothing short of astonishing and visceral.

However, it’s been since 2020 that we’ve seen Gareth Evans direct an action scene, and his last feature film was Apostle, released in 2018. For fans of the writer-director, Havoc has been a long time coming—especially considering the film wrapped principal photography in 2021, with post-production taking over four years to complete. Anticipation has been astronomically high, as Havoc marks Evans’ long-awaited return to feature-length action filmmaking since The Raid 2.

Havoc opens with Walker (Tom Hardy) reflecting on how the curse of his actions will eventually infect his life—and then his family—leaving him a shell of his former self. We then cut to the middle of an intense vehicle chase between a semi-truck and the police. Charlie (Justin Cornwell)—the son of crooked politician Lawrence Beaumont (Forest Whitaker)—and his crew have hijacked a semi filled with washing machines that conceal cocaine. Though they manage to evade the police, they leave a severely injured officer behind and remain far from safe. While attempting to sell the drugs to a crime syndicate, a group of masked men arrive, intent on eliminating everyone. Charlie and his friend Mia narrowly escape. Now, with the entire city hunting for him, Walker is reluctantly tasked with finding Charlie on behalf of his father, Lawrence.

At just one hour and forty-five minutes, Havoc has to introduce and establish a lot of characters quickly. There are numerous players in this web of corruption, and honestly, it feels like Gareth Evans is aiming for The Raid 2-level narrative complexity—without the benefit of a first installment to set up the world and its central protagonist. Still, the extended setup is essential; without it, the film’s themes—exploring how corruption pervades every institution, from the police to politicians to crime syndicates—would feel undercooked.

However, with so much narrative groundwork to lay, the film experiences long stretches without Gareth Evans’ signature action spectacle. The opening chase is thrilling, but it also feels reminiscent of a video game cutscene. Heavy CGI is present throughout Havoc, and it’s quite noticeable. Transforming Wales into an unnamed American city is no easy feat—and it shows. The difference between scenes shot on real sets and those heavily enhanced by CGI is often obvious.

Despite the noticeable CGI, the film still looks visually stunning. Cinematographer Matt Flannery—Gareth Evans’ longtime collaborator since the very beginning—delivers what might be a career-best effort here. The camera plays a vital role in the visual storytelling, with one particularly impressive one-take shot following Walker as he enters a nightclub, perfectly setting the tone for the chaos that follows

When the carnage begins and the action kicks into high gear, Havoc transforms into something truly special and utterly breathtaking. The film has been described as a love letter to Heroic Bloodshed—the era of 1980s and ’90s Hong Kong action cinema popularized by filmmakers like John Woo and Ringo Lam. Woo’s Hard Boiled stands as one of the genre’s most iconic entries, and his influence on Havoc is undeniable—from the exaggerated use of slow motion to the way bodies violently jolt under gunfire. If, for John Woo, guns are an extension of the arm like a sword, then in Havoc, they’re more like Chinese butcher knives. We see blades hack, weapons slash, and bullets shred through bodies in ways that have to be seen to be believed.

Action designer and stunt coordinator Jude Poyer—who previously collaborated with Evans on Apostle and Gangs of London—delivers what feels like the pinnacle of their partnership in Havoc, seamlessly translating Evans’ signature style into the Western cinematic landscape. The nightclub scene is a standout example, blending the raw, kinetic energy of The Raid films with the operatic flair of Heroic Bloodshed. It’s all elevated by impactful sound design that makes every gunshot and impact reverberate through the mix. Together, the visuals and audio create action sequences that feel like a true symphony of violence—something rarely achieved in modern action cinema.

Tom Hardy has tackled many unique projects in recent years, but Havoc feels like a true return to form. He delivers standout performances in both the dramatic moments and the action set pieces—arguably a career best. The supporting cast is equally impressive, with Jessie Mei Li as Ellie and Michelle Waterson as The Assassin standing out. Both deliver powerful performances that prove women can kick just as much ass as their male counterparts.

To be transparent, Havoc starts off on shaky footing—but as its brisk runtime unfolds, it steadily builds momentum, culminating in a thrilling and deliriously violent ride. Gareth Evans is operating at the top of his game, and while the film may not be a masterpiece, it’s yet another testament to why he remains one of the best action filmmakers working today.

★★★★

On Netflix from 25th April 2025 | Tom Hardy, Jessie Mei Li, Timothy Olyphant, Forest Whitaker, Justin Cornwell, Luis Guzman, Michelle Waterson | Dir. Gareth Evans | Netflix | 15