One of these, a regular customer, is Holocaust survivor Sam Rubinstein (Orson Bean), who has devoted his final years to recovering a beloved portrait of his sister that was taken by the Nazis and since has circulated among private collectors others are folks who just drift in and out of his life, like an alcoholic who decides not to go to a bar under McCall's wary, warm eyes, or a soldier nervous about being deployed to Iraq who takes comfort in McCall's calm presence, or three loudly chattering children who fail to notice the driver beaming at them happily.
Life as a Lyft driver has given McCall access to a wide range of humanity, and in a weird way, this is the very best part of The Equalizer 2: watching him drive around, having nice conversations with the people he meets. The film opens with McCall having traveled to Turkey to violently murder a man on a train who kidnapped his daughter from his American ex-wife, as well as the man's lackeys We then jump over to Boston, where McCall has taken up work as a Lyft driver (the film is an awfully pushy commercial for Lyft), some time after transforming the Home Mart where he used to work into a brutal kill floor to punish wicked people for the crimes against innocents. That being said, this review comes to you from a person who found The Equalizer quite run-of-the-mill, and so I present my thoughtful summing-up of The Equalizer 2: "eh".
#Cast of equalizer 2 movie
And that, too, is a a great achievement for the movie sequel. There are some fairly small-scale ways that it's better or worse than the original, and one large-scale one - it is much less creatively violent * - but I think it's not much of a claim at all to say that the net effect of this movie is exactly the same as the net effect of the original, with whatever points you take off for originality. On the flipside, if one has seen and loved The Equalizer, one can be contented to know that The Equalizer 2 is more or less identical. Otherwise, one could dive blindly into The Equalizer 2 and have absolutely not a ghost of a problem following along with everything that happens. The central relationship between McCall and semi-retired intelligence agent Susan Plummer (Melissa Leo) gains a smidgen more depth with knowledge of the last film, but only a smidgen.
It is almost entirely self-contained: there are a few individual shots that probably make more sense or have more resonance if remember them from The Equalizer, but these are few and inconsequential and would go by entirely unnoticed if you hadn't seen the first movie (literally the biggest of these is when Denzel Washington's character, Robert McCall, patiently unwraps a teabag from a napkin, a much bigger motif from the first film). It just tells another story using the same character doing what he does. It's the old-fashioned kind, where the point isn't to recontextualise what we saw in the first film, back in 2014, to expand its universe, or to see what the ramifications are from what happened. In a way, The Equalizer 2 is the absolutely perfect sequel.
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