The Beast, arriving in theaters October 9, sees Samuel L. Jackson and director Renny Harlin, who previously collaborated on The Long Kiss Goodnight and Deep Blue Sea, delivering a thrilling throwback to the action movies of yesteryear. The film centers on the President of the United States (Jackson), who becomes trapped inside his armored limousine, known as The Beast, when terrorists attack and decimate his Secret Service detail.
Forced to drive himself and his wounded agent, Taft (Joel Kinnaman), through a war zone, the President faces an impossible extraction. The world is in upheaval due to a simultaneous attack on the U.S. and other nations, with the enemy's agenda remaining unclear but their advanced weaponry crippling U.S. defenses. Fortunately, The Beast is equipped with high-tech offensive capabilities, transforming it into the President's personal Batmobile.
The film maintains a relentless pace, unfolding in real time and beginning with an explosive sequence. Marketed as "full throttle" and "high-octane," The Beast largely lives up to these descriptors. The movie functions as a two-hander on wheels, with Jackson and Kinnaman sharing the screen for most of its runtime. As Taft bleeds out in the back, the President, despite protocol, prioritizes Taft's survival while utilizing The Beast's arsenal against relentless attackers. While Jackson and Kinnaman share good chemistry, Jackson commands the screen with his performance.
Jackson's portrayal of the President is that of a Vietnam War veteran grappling with PTSD and survivor's guilt, both from his wartime experiences and the current crisis. His inner demons were being managed with his wife Rosa's help, but she is also in danger across town. The narrative emphasizes that the terrorists have provoked a highly capable and determined leader.
The President's drive through a war-torn Los Angeles echoes the intense convoy sequences of Black Hawk Down, set against a backdrop of lawlessness reminiscent of The Purge or Grand Theft Auto. Director Renny Harlin and screenwriter Umair Aleem evoke the styles of classic filmmakers like John Carpenter and Walter Hill, crafting a lean, effective B-movie that could fit alongside films like Assault on Precinct 13 or The Warriors. The score, by Tuomas Kantelinen, also contributes to this atmosphere with a synth sound reminiscent of John Carpenter's Escape from New York.
Harlin utilized an LED stage for filming the limo scenes, allowing Jackson and Kinnaman to react to the on-screen chaos rather than solely imagine it. This technique facilitates dynamic 360-degree shots within The Beast, effectively orienting the viewer and establishing the vehicle's geography and contents without overuse.
While The Beast may not introduce groundbreaking elements to the action-thriller genre, it successfully recaptures the fundamental appeal that draws audiences to such films. Jackson delivers a performance blending badassery with vulnerability, making Harlin's fun, high-concept throwback a compelling watch.