By Ben Wright (@Iamzavagno | www.xgeeks.co.uk)
This review is spoiler-free.
The Wrecking Crew follows two estranged half-brothers who are reluctantly forced to work together on a chaotic case that pulls them back into each other’s lives, and into a wider web of criminal conspiracy. Set against a sun-soaked island backdrop, the film blends buddy cop comedy, action thriller beats and family drama, all wrapped up in a knowingly silly package.
Directed by Blue Beetle’s Ángel Manuel Soto, with a script from Jonathan Tropper, previously of The Adam Project and also attached to the upcoming Star Wars, Starfighter, The Wrecking Crew clearly knows what sort of film it wants to be. It follows a familiar and well-worn template, one that will instantly remind you of 80s and 90s action comedies, complete with bickering leads, mismatched personalities and a case that escalates far beyond its humble beginnings. You have seen these plot beats before, and there are no huge twists or rug pulls, but that simplicity is part of the charm. This is a straightforward, competently written film that understands pacing, lands its jokes more often than not and keeps things moving at an entertaining clip.
Make no mistake, this is a dumb movie. Some of the humour is unapologetically silly and occasionally downright stupid, yet somehow it works. The film never pretends to be smarter than it is, and by leaning fully into its tone, it becomes oddly endearing. The same can be said for the family drama at its core. There is nothing especially new here, but it is handled with enough warmth and sincerity to make it land. The story explores messy, complicated family dynamics, particularly the idea of children from different parents, the resentment, rivalry and emotional baggage that can come with that, but also the deep bonds that can form despite it all. In many ways, the film argues that this messiness is exactly what family is.
This theme is cleverly paralleled through the island setting and the people native to the land. There is a strong sense of community, belonging and shared history woven throughout the story, even if it never fully takes centre stage. The cultural island elements give the film its own identity and add texture beyond the quippy one-liners and sibling banter. While I would have liked the narrative to lean more heavily into island life and the perspectives of the local people, their presence still adds meaning and reinforces the film’s central ideas about family, roots and connection. It feels like there was more on the page here, even if not all of it made it fully to the screen.
This is very clearly a passion project for both Jason Momoa and Dave Bautista, and their fingerprints are all over the film. They have instant, believable on-screen chemistry and play off each other perfectly, balancing physicality, humour and surprisingly tender moments. If you lean into the film and stop fighting its tone, letting it take you where it wants to go, you are likely to have a great time.
The supporting cast is stacked and largely used well. Claes Bang is, as always, excellent and effortlessly watchable, though frustratingly underused. Miyavi, however, steals much of the villain spotlight, feeling genuinely dangerous and radiating cool throughout. Solid support comes from Jacob Batalon, Stephen Root, Morena Baccarin, Temuera Morrison, Roimata Fox and Frankie Adams. Individually strong and collectively effective, they help create a balanced and distinctive ensemble that adds depth to what could otherwise have been a very standard setup.
One of the film’s biggest surprises, and easily one of its strongest elements, is the action. The fight choreography is genuinely impressive, with well-performed stunts and clear, confident staging. The camera work plays a huge role here, particularly the use of extended one-shot sequences that allow the action to breathe and give the performers space to shine. These moments elevate the film far beyond expectations, adding a level of craft and polish that I honestly was not anticipating. While some of the visual effects do occasionally look a little too computer-generated, they never distract enough to pull you out of the moment.
If there is a downside, it is that originality is not this film’s strong suit. It is content to remix familiar ideas rather than reinvent the genre. Claes Bang and Roimata Fox could have benefited from more screen time, as both bring a lot to the table with relatively little material. Still, these are minor complaints in what is otherwise a very enjoyable experience.
The Wrecking Crew is a dumb but fun cop comedy action thriller, perfect for easy viewing. With well-choreographed action, confident camera work, strong chemistry between its two leads and a surprisingly heartfelt focus on family and community, it delivers exactly what it promises and does so with charm. It may not be groundbreaking, but it is a thoroughly entertaining ride.
X-Geeks 