A Hitman’s Costly Mistake Causes Mayhem

London Calling marks Allan Ungar’s vibrant leap into the action-comedy genre, mixing chaos and humor in a story that thrives on mismatched energy. The film explores the life of a hitman, Tommy Ward (Josh Duhamel), with fading eyesight, whose mistake sets off a rollercoaster of consequences. Read on for a glimpse into the hurdles Ward must overcome.

The Storyline

At its simplest, London Calling is an action comedy that follows the story of a hitman, Tommy Ward (Josh Duhamel), who accidentally killed the wrong target. The victim is a relative of a London crime boss, Freddy Darby (Aidan Gillen), putting Ward in a dangerous situation where he’s forced to move to what Darby calls “The City of Angels,” commonly known as Los Angeles. In this city, he works for a crime lord, Benson (Rick Hoffman), which later transpires to a deal: Ward, in exchange for a safe passage back to London to see his son, must teach Benson’s son Julian (Jeremy Ray Taylor) how to be a man. This mismatched union makes London Calling entertaining and engaging, as what begins as a tag-along mission gradually turns into mayhem: car chases, gunfights, personal stakes, and betrayal.

In London Calling, Ward is the film’s anchor. From missing kills due to deteriorating

eyesight, Duhamel perfectly embodies his character’s world-weariness. His performance carries the weight of redemption, as he’s always trying to do better whenever he messes things up, especially regarding his family. Seeing that he could not spend much time with his son, this somehow created an atmosphere of father and son between him and Julian throughout their scenes. Left alone, Julian prefers LARP, fantasy, and geek culture to the violent career path his father wants for him. Although, it is these traits that support London Calling’s comedic narrative. His character funnily depicts the typical nerd who seems to get bullied more times than the number of Sundays in a year. But thanks to Ward, who taught him how to stand up for himself, something his father could not teach his son but has always wanted for him. Benson’s performance is not completely flat, as Hoffman adds seriousness, which sometimes appears somewhat sarcastic, and bitterness to make his character entertaining.

An Uncommon Set of Cast

Allan Ungar, the director of London Calling, is the pillar that holds the film together. Other minds behind the production of London Calling are producers Julia Sandberg Hansson, Delon Bakker, Ryan Winterstern, and Nathan Kingher. Together with co-writers Omer Levin Meneske and Quinn Wolfe, plus an uncommon set of cast, London Calling portrays action in a comedic style. Ungar’s style thrives in the film: brisk camera work, gritty dialogue, and vibrant edits that further the narrative. Duhamel delivers an excellent performance that aligns with the role of a hitman trapped between second chances and going back in time. Duhamel’s performance serves as London Calling’s backbone. In one scene, Julian’s life is at stake, but his father is more concerned about the money he gave Darby, leaving Ward in a dilemma: catch a flight to London to see his son or catch a bullet for Julian. It’s one of those moments that highlight Ward’s sense of fatherhood in London Calling.

Jeremy Ray Taylor, on the other hand, delivers one of the film’s most engaging performances. His role as Julian, the awkward son of a crime boss, is well played due to the nervous energy, desperation for validation, and humor he brought to the story.

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His scenes with Duhamel bring out the film’s most human and funny moments. During a shooting range, Ward shows Julian how to properly hold a gun to shoot, although Ward could not hit any of the targets because of his eye problems, which he repeatedly claims he does not have. When it was Julian’s turn, he got each target at their first attempt, making Ward feel embarrassed in a way that viewers would find hilarious and relatable. While Hoffman delivers an average performance in London Calling (average because of his reputation), most viewers would agree that he is not versatile enough to play the role of a crime boss convincingly well. Even though there are no scenes where he holds a gun, he can not even be pictured with a gun. Casting Hoffman as a crime boss is like picturing Dwayne Johnson dancing as a stripper. It is not only a juxtaposition blunder, but also a casting blunder. Another actor whose role does not align with his acting skills is Aidan Gillen as Freddy Darby (Game of Thrones). While Gillen’s performance in London Calling isn’t completely out of sync with his character, it’s safe to say that he’s not the right fit for the role. Casting Gillen and Hoffman as crime lords in an action movie in this century is obviously not for the perfection of the film’s plot but rather to attract fans of both actors to generate profits in lots. Aside from the mismatched cast arrangements, London Calling does well to keep viewers entertained.

How It Feels on the Eyes

London Calling is shot by Alexander Chinnici, and he excellently highlights the contrast between how London and Los Angeles are shown in the film. The Los Angeles scenes are presented in sun, warm tones, and natural light, which is a crystal imitation of L.A.’s climate, while the scenes in London carry a dense, chaotic vibe with neon lights and crowded streets. Somehow, it mirrors an interpretation that seems like Ward runs from darkness to light even though he’s still enveloped in darkness. For instance, the opening club scene in London with neon, animal-like masks, bass, and weird light all set up a symbolic style. The lighting reinforces Ward’s confusion, and the music supports the adrenaline, as well as the brilliant camera movement, which glides between faces and corners. The film’s lighting works well with the visual storytelling. One clever use of lighting appears during a memorable shot where Ward, alongside Julian, drives down an empty L. A street at sunrise after a night of successful killings. The golden hue symbolizes the happiness in that moment.

London Calling’s soundtrack, composed by Trevor Morris, drives much of the film’s mood. During this scene where Ward is driving at sunrise, ‘East Side’ by Smoother, an upbeat song, matches the celebratory state of both Ward and Julian. Also, the opening London sequence carries a bass-heavy track that suits the club’s atmosphere exceptionally. Altogether, the cinematography, lighting, and music in London Calling support the film’s tone with surprising consistency. The brilliant camera movements tell the audience of Ward’s emotional story, the lighting reveals his internal struggles, and the music builds a rhythm colliding with the London world and that of Los Angeles. These technical choices keep London Calling alive when the plot fails to.

Is ‘London Calling’ Worth A Watch?

London Calling is a great recommendation for audiences who just want to be entertained. While the film is not perfect, it is rarely dull, as it is more entertaining than it is unforgettable. Lastly, thanks to the producers, director, cast, and every other person behind the creation of London Calling.

Watch London Calling on Amazon Prime or Apple TV!