Armor // By Justin Routt. With Jason Patric, Sylvester Stallone and Dash Mihok.
When a film like Armor hits our screens, it’s natural to hope for a gripping experience, especially with an up-and-coming cast and a veteran like Sylvester Stallone. However, this 2024 production, which aims to be a mix of thriller and action, unfortunately fails to deliver anything memorable. Between a shaky plot, under-exploited characters, and a production that leaves something to be desired, Armor stands out as a typical example of wasted potential. Steven Seagal was avant-garde. Since he started the trend, everyone involved in action cinema has gone to disgusting Direct to SVODs. In its first minutes, Armor manages to intrigue. Jason Patric plays an armored truck driver, a former alcoholic who seems stuck in a spiral of self-destruction.
A father and son work as security guards for an armored truck company. They encounter a team of thieves on a bridge and find themselves trapped…
The film opens with a striking scene: waking up at dawn, desperate search for a bottle of vodka hidden in his own refrigerator. A curious detail, since this character lives alone. Why hide a bottle at home, with no one there to discover it? One inconsistency among others, but it nevertheless manages to capture attention. This aspect of vulnerability of the protagonist is reinforced by his complex relationship with his son, played by Miller Garfinkel. Their bond, slightly strained but functional, suggests emotional potential. However, what could be an interesting thread is quickly swallowed up by the weaknesses of the scenario. You have to wait almost 30 minutes before the real heart of the film – the armored truck heist – begins.
Once started, this central act attempts to inject some tension. On a deserted bridge, Stallone and his team of criminals try to seize the precious contents of the truck. However, this action scene, although energetic on paper, is undermined by a glaring lack of logic. Why doesn’t Jason Patric’s character, armed with an armored truck capable of resisting bullets, choose to simply crush his attackers or flee? Instead, we are presented with a series of predictable confrontations, supported by minimalist and unconvincing special effects. Stallone, while charismatic as always, is largely underused. His role is reduced to barking orders at his accomplices, a notable inconsistency being his insistence that he doesn’t want to kill anyone, while he spends a good portion of the film shooting at the truck with armor-piercing bullets.
This only adds to the general confusion about his motives. After the robbery scene, the film turns into a closed session inside the truck. Instead of thinking of ingenious ways to escape their attackers, the two protagonists – father and son – engage in introspective discussions about their past mistakes. These moments, although they aim to humanize the characters, fall flat in a context where tension should have taken precedence. This narrative choice makes the rest of the film incredibly monotonous. The dialogues, although sometimes touching, would have been more relevant in a family drama, and not in a thriller supposed to keep the viewer in suspense. At the same time, the antagonists spend their time arguing among themselves, which contributes to weighing down an already weakly structured story.
The lack of cohesion in Armor undoubtedly finds its source in chaotic production. Reports indicate that filming, originally scheduled for 15 days, was cut short to nine. Additionally, Randall Emmett, although officially a producer, appears to have taken directing control in place of the designated director. This type of disorganization is clearly reflected in the final product, marked by inconsistent artistic choices and a lack of clear direction. Even the film’s low budget is impossible to ignore, with special effects that betray their nature in every appearance. These technical limitations could be forgiven if the story and performances were strong enough to compensate, but that’s unfortunately not the case.
It’s hard to entirely criticize the cast, who do their best with mediocre material. Jason Patric gives a nuanced performance as a broken man, and his chemistry with Miller Garfinkel is one of the film’s rare qualities. Likewise, Stallone, despite his advanced age, retains a certain presence on screen. However, his role sorely lacks depth, and his presence is not enough to save Armor. Armor falls into the category of films that we quickly forget after seeing them. Neither truly an action film nor a successful psychological thriller, it fails to offer a satisfying experience in either register. The scenario is riddled with holes, the direction is clumsy, and the artistic choices, when they exist, are perplexing.
For Stallone fans, Armor might appeal out of curiosity, but even this Hollywood legend can’t elevate a film that seems like it was designed solely to capitalize on his name. My advice? Avoid this film and opt for classics or productions where Stallone really shines. You won’t miss anything by skipping Armor.
Note : 3/10. In short, the short duration of the film allows you to quickly forget that you had a bad time.
Coming soon in France
