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From the writer (J.P. Davis) and director (Jean-Fran\u00e7ois Richet) of Plane<\/em>, this action-thriller is reported to have begun life as a sequel to that 2023 Gerard Butler vehicle. It was entitled, naturally, \u2018Ship\u2019, but retooled after Butler, well, jumped ship, thus clearing the way for Jason Statham to board a movie that might be described as Die Hard On A Boat, had Under Siege<\/em> not got there already. Thirty-four years ago.<\/p>\n <\/span><\/p>\n <\/p>\n Mutiny<\/em> is a throwback, the kind of contained, no-nonsense action picture that Hollywood thrived on before CGI made anything possible\u2026 except, in most cases, realism and peril. Statham has previously played getaway drivers, bank robbers, cops, hitmen, construction workers and a beekeeper, but nearly all of his tough guys are ex-somethings, and so it is here. In fact, bodyguard Cole Reed is doubly hard because he\u2019s an ex-cop and an ex-Royal Marine (\u201cI pissed off the wrong people\u201d). He\u2019s also a master strategist, always three moves ahead. We know this because, early doors, he wins a game of chess without so much as a stroke of his perma-stubbled chin. As particular sets of skills go, his are particularly particular, so who better to creep through the dingy hull and cranking air vents of the KMG Artemis in an effort to learn how the captain and crew are involved in the murder of Cole\u2019s shipping tycoon boss, Tibu (Ramon Tikaram)?<\/p>\n <\/span><\/p>\n Statham simply takes care of brutal business and there\u2019s nothing fun about it.<\/p>\n<\/blockquote>\n<\/div>\n<\/div>\n <\/p>\n Dealing death dressed in denim, Reed fights at close quarters, brief and brutal. His fists are hard and heavy as anchors, and he makes violent use of whatever objects are at hand \u2014 hook, padlock, harpoon \u2014 with nary a quip. \u201cI wonder how many steaks I could make out of you?\u201d the Stath mused in Crank<\/em>; \u201cDo I look like a man who came halfway across Europe to die on a bridge?\u201d he snarled in Transporter 3<\/em>. In Mutiny<\/em>, he simply takes care of brutal business and there\u2019s nothing fun about it, the tone prescribed by a grim plot-turn that\u2019s only surprising in that Statham should choose to cover such similar ground to his last movie, A Working Man<\/em>.<\/p>\n <\/span><\/p>\n Viewers will probably have more fun than Reed does, but only just. For while Mutiny<\/em>\u2019s adherence to back-to-basic, crunchy action is to be applauded, it often drags between fight sequences, with neither the conspiracy thread nor the characters, most of whom are disposable goons, engaging heart or mind. Even Reed teaming up with the third mate (Annabelle Wallis) only brings a dynamic that chugs like the boat\u2019s engine. What\u2019s odd is that Mutiny<\/em> begins with a Leone-style close-up of Statham\u2019s narrowed eyes, but any stylisation ends there. The next 90 minutes are all breezeblock-grey visuals, and a climactic scrap between a literal boatload of Marines, pirates, ex-military and ex-mercenary henchmen never threatens to be anything more than solid.<\/p>\n <\/span><\/div>\n A meat-and-potatoes action-thriller that sits heavy. Anyone who likes to have fun with the Stath might want to wait for next year\u2019s Jason Statham Stole My Bike.<\/p>\n","protected":false},"excerpt":{"rendered":" Framed for the murder of his billionaire boss, bodyguard Cole Reed (Jason Statham) boards a shipping vessel and there uncovers an international conspiracy as he fights to clear his name. From the writer (J.P. Davis) and director (Jean-Fran\u00e7ois Richet) of Plane, this action-thriller is reported to have begun life as a sequel to that 2023 […]<\/p>\n","protected":false},"author":1,"featured_media":13283,"comment_status":"open","ping_status":"closed","sticky":false,"template":"Default","format":"standard","meta":{"footnotes":""},"categories":[47],"tags":[],"class_list":["post-13282","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-47"],"_links":{"self":[{"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/posts\/13282","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/comments?post=13282"}],"version-history":[{"count":1,"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/posts\/13282\/revisions"}],"predecessor-version":[{"id":13284,"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/posts\/13282\/revisions\/13284"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/media\/13283"}],"wp:attachment":[{"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/media?parent=13282"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/categories?post=13282"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/tags?post=13282"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"Mutiny\"](\"https:\/\/imdbnews.ir\/wp-content\/uploads\/2026\/08\/mutiny.jpg\")
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