In the latest installment of men of violence seeking redemption, “The Bricklayer” adds a new layer of intrigue to the genre. Steve Vail (Aaron Eckhart), once a dependable CIA agent with a penchant for disregarding procedure, seeks solace in masonry after becoming disillusioned. Little does he know that some professions don’t allow you to escape your past.
The plot thickens when Radek (Clifton Collins Jr.), a former CIA asset working under Vail, resurfaces with a vendetta. Radek, believed to be eliminated by Vail, embarks on a vengeful journey, leaving a trail of bodies critical of US intelligence. Vail is reluctantly pulled out of retirement to confront his past, now with a rookie partner, Kate Bannon (Nina Dobrev).
Directed by Renny Harlin, known for his earlier works like “5 Days of War” and “Devil’s Pass,” and with a script by Hanna Weg and Pete Travis, the film attempts to breathe life into the somewhat formulaic narrative. Although the plot, adapted from Noah Boyd’s novel “The Bricklayer,” follows a familiar trajectory, the movie manages to find its footing through its action sequences.
Despite the routine plot elements of a resurrected adversary and a retired hero forced back into action, the film’s action scenes are its saving grace. Harlin showcases his skill in delivering effective cinematic violence, reminiscent of his earlier works. From a rooftop fight in the rain to a shootout in a crowded square and a high-speed chase, the film successfully captivates with its well-executed action.
Aaron Eckhart may not fit the typical action hero mold, but he delivers a solid performance as Vail. Dobrev’s portrayal of Kate Bannon is decent, although the chemistry between the two leads feels somewhat forced. Clifton Collins Jr. impresses in his limited screen time as the villain, adding depth to a complex role.
While the plot may lack originality and the setting might feel like a budget version of a Bond film, “The Bricklayer” rises above its competition with its well-executed action sequences. The film, released during the typically lackluster months of January and February, surprises with its entertainment value. As the first installment in a series, it leaves room for optimism about potential future adaptations that could continue to captivate audiences.