The opening scene of Panama (2022) is a chaotic flurry of gunfire and dust, as ex-marine James Becker (Cole Hauser) navigates a war-torn Panamanian street. It’s an aggressive introduction to Mark Neveldine’s thriller, one that sets the tone for a film more concerned with spectacle than substance.

What it is: Directed by Neveldine, known for his work on Crank and Gamer, Panama follows Becker as he’s hired by a defense contractor to complete an arms deal in Panama. Amidst the U.S. invasion of Panama, he becomes entangled in political intrigue and learns about the corrupt nature of power. The film stars Cole Hauser, Mel Gibson (in a supporting role), Kiara Liz, and Mauricio Hénao.

What works: Neveldine’s direction is visually dynamic, with tight, handheld camerawork that immerses the audience in the action. The set pieces are well-choreographed, particularly a tense shootout in a crowded market where Becker must navigate civilians while engaging enemy forces. The cinematography, though not groundbreaking, effectively conveys the chaos and urgency of the setting. Gibson’s presence adds a layer of gravitas, even if his role is more narrative than performative. His gravelly narration provides a sense of history and context, though it often feels like a crutch for a story that struggles to hold together.

The film’s exploration of political corruption and military industrial complex is timely, though it’s handled with broad strokes rather than nuance. The script touches on themes of power and manipulation, but it never delves deep enough to offer meaningful commentary. The action sequences are the film’s strongest suit, with Neveldine showcasing his ability to stage intense, visceral set pieces. A particularly notable scene involves Becker infiltrating a heavily guarded compound, using stealth and tactical precision to overcome overwhelming odds.

The performances are serviceable but rarely stand out. Hauser delivers a forgettable turn as Becker, embodying the generic action hero archetype without adding any unique depth or charisma. Gibson, despite his limited screen time, brings a certain gravitas to his role as Stark, a defense contractor with questionable motives. His narration, while occasionally insightful, often feels like an attempt to compensate for the film’s lack of narrative cohesion.

Kiara Liz and Mauricio Hénao provide adequate support as Camila and Enrique Rodriguez, respectively, but their characters are underdeveloped and serve primarily as plot devices rather than fully realized individuals. Kate Katzman as Tatyana and Charlie Weber as Hank Burns offer similar levels of competence without standing out, while Jackie Cruz as Cynthia Benitez and Victor Turpin as Brooklyn Rivera are relegated to minor roles that do little to enhance the story.

What falters: The story is weak, relying on clichés and conveniences to push the plot forward. Becker’s character is underdeveloped, a generic action hero who lacks depth or compelling motivations beyond the standard “man out of time” trope. The political themes are superficially addressed, never delving deep enough to offer meaningful commentary. Dialogue is often stilted, and the pacing is uneven, with long stretches of exposition breaking up the action.

The film’s biggest misstep is its reliance on Gibson’s narration, which feels like a crutch for a story that struggles to hold together. The script, credited to Daniel Adams and William Barber, lacks originality, recycling familiar tropes from countless other action thrillers. The performances are serviceable but rarely stand out, with Hauser delivering a forgettable turn as Becker. Kiara Liz and Mauricio Hénao provide adequate support, but their characters are similarly underdeveloped.

Comparisons to other films in the genre are inevitable, and Panama often falls short. While it shares some DNA with Yellowstone, the series that made Hauser a household name, it lacks the depth and character development that make that series compelling. The film also struggles to match the intensity and coherence of Neveldine’s earlier work, such as Crank, which managed to balance absurdity with genuine excitement.

Who is it for: Panama is a film for fans of straightforward, bombastic action cinema. It’s not for those seeking nuanced storytelling or complex characters. Viewers who enjoy the thrill of well-choreographed set pieces and the spectacle of political intrigue may find some enjoyment in the film’s more explosive moments.

Verdict: Panama is a competently made but ultimately forgettable thriller that prioritizes action over storytelling. It’s a film that will likely appeal to fans of straightforward, bombastic action cinema, but it offers little in the way of originality or depth.