The aforementioned heroine is Victoria (Ruby Rose) and as she enters the picture she arrives at her job providing evening care for Damon (Morgan Freeman – yes, Morgan Freeman), a retired police officer and in wheelchair in his palatial estate with his adorable Moppet daughter Lily (Juju Journey Brener) in tow. Lily turns out ill and Victoria confesses to Damon that she cannot afford the necessary treatment. Damon magnanimously offers to pay for the treatment, but he will need a service. As his excavations probably suggest, Damon was a corrupt cop engaged in all manner of illicit transactions in the city. And following a recent double cross, he decides to withdraw his money from five associates in the city and asks Victoria to put in her own skills – she once worked with her late brother as a drug courier for the Russian Mafia – to use while doing the mics during that night. At first, Victoria refuses – she left this life behind and the like – but when it turns out that Lily is missing and Damon won’t return her until the job is done, she reluctantly agrees.
Any hope that it will be just a silent and indescribable series of pickups and drops will pretty much disappear out the window when Victoria arrives at the first destination, acknowledges the criminal she collects from as the guy who killed her brother and massacres. him and a room full of his servants. (She also helps a sex worker escape, so I guess the karmic scales are even.) From there, things turn sour as each new journey brings an encounter with allegedly colored criminals (including one who clearly thinks he’s playing Alfred Molina in “Boogie Nights” And greets Victoria with the immortal line “I heard you killed more people than Quentin Tarantino. Mint julep?”) which ends with a fight scene , shootouts or a chase before returning to Damon’s house for another enigmatic conversation (as never going from room to room looking for his daughter). Meanwhile, Victoria’s activities attract the attention of a fan. crooked cops, officials and government agents – at least one of whom happens to say one piece of news is “above your pay grade” – all trying to stop him in the same way. .
As you might have guessed from this point, “Vanquish” is a very bad movie. But more than that, it’s extremely lazy – the genre that almost turns the DTV Steven Seagal has produced over the past two decades seems focused and engaged in comparison. To describe the characters and the narrative as “paper thin” would be an insult to your average copier feed ream and at least that’s guaranteed to have higher brightness than the murky cinematography on display throughout. Of course, you don’t watch a movie like “Vanquish” for those special qualities, but they stand out better against the terrible action beats that are listless throughout. The only thing that’s interesting about them – and the whole movie, by extension – is that the movie is strangely devoid of extras. Strip clubs, highways – you name a location, and it’s oddly devoid of anyone other than the specific characters needed to move that particular scene. Hell, “Swimming to Cambodia” had more extras than one can find here – not to mention better fight choreography.