Gareth Evans, the acclaimed director known for his influential work on the Raid films, has taken a bold step into the neo-noir genre with his latest film, Havoc. Set against a vivid, chaotic urban landscape, the film plunges headfirst into the moral ambiguities of police corruption. It boasts a star-studded cast, headlined by Tom Hardy, Forest Whitaker, and Jessie Mei Li.
In Havoc, Hardy stars as Walker, a crooked detective caught up in a conspiracy of crime and double-cross. The movie is further buoyed by Whitaker’s introduction as Lawrence Beaumont, a crooked politician swimming through the deep end of political corruption, crime and blood. Jessie Mei Li steps into the role of Ellie, the city’s only honest cop who becomes entangled in Walker’s moral dilemmas.
Havoc confidently plays against the genre’s expectations and showcases two memorable action setpieces, one of which—a club infiltration—sees discrete choreography drawn across a strobing atmosphere. This set piece, running a full six to seven minutes, stands as a demonstration of Evans’ and his team’s fidelity to the art of high-octane action. The director collaborated intimately with his masterful stunt team to design out three completely separate sets of choreography for this sequence. Their goal was to ensure that each moment crackled with energy and truth.
From discos to fashion, Evans imagined an imagistic and electrifying club scene. The driving techno sounds of Gesaffelstein’s “Obsession” turned up the heat at this important, transformative, cathartic point in the film. The blend of creative choreography and energized cinematography raises the club scene to higher levels than usual action genre standards.
The physical demands placed on its lead actors in the production of Havoc. And actor Tom Hardy certainly didn’t come to Jiu-Jitsu with a martial arts pedigree. Wong’s deep expertise in martial arts brought a frenetic immediacy to the role. It was his Ukulele Films partner and longtime stuntman Jacob Tomuri who was key in helping craft the film’s many complex action sequences.
Shooting the club scene was a significant challenge for Evans and his crew, shooting the sequence over the course of about three weeks. This dedication to detail reflects Evans’ admiration for Hong Kong action films from the ’80s and ’90s, which served as an inspirational cornerstone for Havoc.
The film includes one unforgettable harpoon scene, one of many moments that show the absurdity and intensity of Evans’ vision. He noted the importance of unique elements in action sequences, stating, “I really love the harpoon at the end of the shack sequence. For me, it becomes so absurd, and it’s one of those things where if all we did was a harpoon shot and then she dies, it’s like, yeah, okay, seen that before.”
Evans wanted to make clear that the planning stage of Havoc started long before Hardy came on to the project. He worked hand-in-hand with his stunt team and stunt coordinator Jude Poyer. Collectively, they helped pioneer a unique combination of character-driven storytelling and pulse-raising action.
“It starts very early in the process. It was even before Tom came on board. I’d written the script, and then I got together with my stunt team and Jude Poyer, who is the stunt coordinator.” – Gareth Evans
You don’t have to squint too hard to see the director’s action heavy heart, pumping with life through every frame of Havoc. Evans’ skill at balancing character-driven storytelling with jaw-dropping choreography is what really enhances this film from just another simmering standard thriller.
