Denzel Washington is back in action mode when The Equalizer 2 is released next weekend. In his decades long career filled with numerous hits, this is actually the first ever sequel for the star. Antoine Fuqua is back directing and it’s the fourth collaboration between two after 2001’s Training Day (for which Washington won an Oscar), 2014’s The Equalizer, and 2016’s The Magnificent Seven. Costars include Melissa Leo, Pedro Pascal, Ashton Sanders, and Bill Pullman.
When it comes to the action genre, few actors are as bankable as Denzel. The first Equalizer, which is based quite loosely a 1980s TV show starring Edward Woodward, made $34.1 million for its start and ended up at $101 million overall domestically. Two years later, The Magnificent Seven took in $34.7 million out of the gate and $93 million total. Nearly all of Washington’s titles in the genre in the past decade or so have achieved mid 20s or more in their premieres.
While The Equalizer 2 may face a challenge scoring a #1 opening over a very different follow-up (Mamma Mia! Here We Go Again), a high 20s to possibly low 30s roll out seems quite achievable.
The Equalizer 2 opening weekend prediction: $26.8 million
For my Mamma Mia! Here We Go Again prediction, click here:
One not need to live in Chiron’s world in Moonlight to understand his struggles. We all have moments where we feel isolated. We all have had family drama. We all have moments where we strive to figure out who we are. The central character in this Barry Jenkins picture may experience it at an elevated level and in a universe where his identity is shunned. However, we manage to identify with him and that’s a tribute to an often subtle and smart script.
The film is told in three chapters as it follows various stages in Chiron’s life in Miami and eventually Atlanta. It begins under the heading “Little”, where we find him as a shy young boy. His mother Paula (Naomie Harris) is an absentee one and Little is soon befriended by drug dealer Juan (Mahershala Ali) and his girlfriend Teresa (Janelle Monae). They serve as his de facto parents.
Second chapter “Chiron” finds him as a teenager who’s frequently targeted at school. Paula is now a drug addict, Teresa still cares for him, and Juan is no longer in the picture. He also has a complicated relationship with longtime friend Kevin that alters between romantic and antagonistic.
Chapter three “Black” finds Chiron as a twenty something whose life has veered into territory much like Juan’s. It would probably be something his father figure would despise. The years gone by have also gotten him out of touch with Kevin, but their paths coincide once again.
Moonlight finds three actors playing Chiron (and Kevin) in these stages. Alex Hibbert is the youngster in part one, Ashton Sanders is the teen, and Trevante Rhodes is the young man. All of them shine. Same goes for the supporting players, with note deserved to Ali for putting a fresh spin on a character who could’ve been far more stereotypical.
There are events key to Chiron’s story that aren’t shown here and while I understand the structural decision not to belabor them, it does occasionally take away from its overall dramatic impact.
Yet its staying power is still significant. The film is about someone discovering their sexuality and we finds ourselves for rooting for Chiron to get there. No matter your identity, you’ll recognize and sympathize with moments of family struggle, bullying, and loneliness. Jenkins (who wrote and directed) assuredly keeps the audience wondering where his subject’s journey turns next.