Shelter

There are, however, three things that elevate Shelter above a C average score. The first is Statham himself, an actor who knows how to stay in his lane (all those driving movies!) and do what he does best, which is to be brusque and to kill people. Second is director Ric Roman Waugh, one of those stuntman-turned-filmmakers, which means he knows his way around an action sequence better than most.

Ultimately, what distinguishes the film from the many Statham shoot-em-ups that have preceded it is Mason’s increasingly close relationship with the young girl, excellently played by Breathnach, who helps him get back in touch with his human side.

This month’s Statham movie is titled “Shelter.” And as these things go, “Shelter” is more Shake Shack than it is McDonald’s. It resembles his other genre movies in the basic form and idea, but it’s a much more high-end and satisfying version.

The narrative is often nonsensical, and the dialogue can lean towards the risible, but the action is kinetic and Statham as watchable as ever.

Waugh knows how to build an action sequence with the best of them, and Shelter is, ultimately, an electric actioner, so long as it is sticking to the action.

Honestly, there isn’t a single step in Shelter’s plot that isn’t entirely predictable, but to the film’s credit the fight choreography is solid (Waugh was a stuntman himself once) and young Breathnach proves, after her turn as Susanna Shakespeare in Hamnet, that she is a find with a future.

Nothing in “Shelter” develops beyond the suggestion of an idea. A sleepy vehicle for action star Jason Statham, “Shelter” piles on cliches and expects viewers to supply enough goodwill to compensate for its shortcomings.

Better than I expected! If you liked Jason’s Jan 2024 Beekeeper, this is on the same level of quality. Seems to me film reviewers, both lay and pro, are not adapting to our cinematic times. There must be 1000 to 2000 action films similar to Jason Statham’s Jan 2026 Shelter. Seems to me, reviewers score movies like this based on originality. This is an error. Modern action movies are always going to recycle the same tropes. Who disputes this? The better metric is COMMITMENT. If an actioner like Shelter has committed a directing and acting, it should get a higher score than an actioner just “painting by the numbers.”Shelter is made with commitment. It’s directed with commitment. The actors are committed. The young girl is especially effective, an echo of the young Jennifer Lawrence here. She makes excellent use of her role and dialogue which are awfully familiar. Bill NIghy is effective in his supporting role. Shelter has one of the most effective soundtracks I’ve heard in a year or so, something like Tangerine Dream meets X-files (Michael Manring). Very appropriate and “pluses” plot points at every turn. Compare Shelter with the last few Aaron Eckhart actioners. I’m sad to say except for his first one or two actioners, Aaron’s films have been more “paint by number” with little commitment to distinguish them.

Decent Jason Statham movie although this movie has a lot more emotions than is usual for his movies; its good but more action would be preferable - leave the emotions for the other rubbish movies like Wuthering Heights etc. Simple plot but nobody cares about that really; its all about the action and there is slightly less of that but ok overall.

Shelter is a bone-breaking action film with unflinching integrity. Shelter unfolds like a grounded Black Ops version of John Wick. When it comes to action films, Jason Statham’s catalog sets the bar pretty high with exceptional combat sequences and humble yet satisfying storylines. Not only does he have another hit, but he’s brought depth and endearment with him, and of course, integrity. The tone is moody, the action is fresh, brutal, and meaningful. Moreover, if the sharp, bone-breaking fight sequences aren’t enough, the wholesome fathers-daughter-esque relationship will warm your bullet-riddled heart.

The actors must of all been like, "Is this right? You are going to pay me to show no emotion in any scene?"

Unfortunately, this is one of Jason Statham's bad films and is not worth watching. The dialogue and action are sleep-inducing.