Ever since Bill Murray woke up in Groundhog Day and the world was introduced to the concept of the time loop, filmmakers and television authors have been attempting to replicate that temporal mechanism across a variety of genres and settings. While many of these attempts have been derivative or failed to find a compelling narrative hook, one of the more successful and, somewhat refreshing, efforts of that nature is the 2020 science fiction action comedy Boss Level, directed by Joe Carnahan. The film manages to stand out in a crowded field of temporal narratives by stripping away the existential dread often associated with the trope and replacing it with high-octane kinetic energy.
The protagonist, portrayed by Frank Grillo, is Roy Pulver, a retired US Delta Force soldier living in Atlanta. His existence is shattered the moment he wakes up every day around 7 AM, only to be immediately attacked by a group of heavily armed and determined assassins. Each time they manage to kill him, he wakes up again with the memory of the previous day intact. Through a brutal process of trial and error—which reveals the devastatingly higher numbers, equipment, and resources of his enemies—Roy manages to survive just enough to start questioning what is happening and, more importantly, why. The mystery unravels to reveal a connection to Jemma Wells (Naomi Watts), his estranged wife and the mother of his son, Joe (Rio Frillo). Jemma is a scientist working for Dynow, a defence contractor owned by Colonel Clive Ventnor (Mel Gibson), a former CIA black ops veteran. Ventnor coerced Jemma into building Osiris Spindle, a quantum device capable of changing history, which he intended to use to install himself as the world's dictator. However, the device apparently malfunctioned, causing the time loop, and unless it is stopped, it will destroy the world. Roy is now forced to utilise all his skill and determination not only to break the loop but to actually save everyone he loves.
Until very recently, critics, especially those of a more snobbish persuasion, used to describe action films they did not like as being "video game like." Joe Carnahan, on the other hand, makes Boss Level in a way that it wears that particular moniker with pride. There are plenty of homages to gaming history, and the title itself borrows directly from gaming subculture. Rather than viewing the protagonist's situation as a Sisyphean nightmare of reliving the same day over and over, Roy approaches the mission as a gamer repeatedly trying to reach the final level and finish the game. This perspective transforms a repetitive premise into a series of escalating challenges, with each death serving as a "resurrection" or a checkpoint where the player learns from their mistake.
Carnahan employs an energetic style of direction based on rapid editing, plenty of graphic violence, gore, and explosions. This is the same approach he had used a few years earlier in Smokin' Aces, but here it is much more disciplined. The weary protagonist and his narration provide necessary exposition, allowing the plot to unfold very rapidly without feeling bogged down. The number of characters is much smaller, and they are usually less flamboyant than in Carnahan's previous work, which helps maintain a tighter focus on the central struggle.
The film benefits significantly from the central performance of Frank Grillo. An actor who was usually relegated to character roles, he handles the task of action protagonist very well, anchoring the film with his physical presence and gruff charisma. Mel Gibson, like in many films made in the latter stages of his career, is excellent at channeling his questionable off-screen reputation as a tool to paint over-the-top, quasi-insane villainy, and this works exceptionally well. Naomi Watts, on the other hand, seems underused as Jemma; her character is essential to the plot but lacks the screen time or depth to make a substantial impact. It is a much better situation with the supporting cast of colourful assassin characters who repeatedly kill the protagonist in numerous inventive and darkly humorous ways before he finally has the tables turned.
Carnahan, who co-wrote the script with Chris Borey and Eddie Borey, also indulges hardcore cinephiles among his target audience with a number of interesting references. The scriptwriters hide these winks and nods within the dialogue and action sequences, and the best one occurs when the pistol-armed protagonist, just before the grand showdown with the sword-wielding villainess Guan-Yin (played by Selina Lo), discusses a similar scene in Raiders of the Lost Ark. It is a moment of meta-commentary that lands perfectly for viewers who appreciate the history of cinema.
In the end, however, Carnahan seems determined to keep the film short, prioritising punch over polish. When the protagonist reaches what is presented as his "boss level," the final outcome of his endeavour is left ambiguous, and in a way which would be frustrating to some viewers. Rather than a clear-cut victory or a definitive conclusion, the film cuts to the credits, leaving the fate of the characters in limbo. This abruptness suggests a desire to get to the point, but it may leave audiences wanting more closure.
Boss Level, while not among the classics of the action genre, is a solid piece of cinema that blends an overused sci-fi premise, graphic violence, black humour, and pop culture references in a way that is satisfactory enough to earn it the status of a "guilty pleasure."
RATING: 6/10 (++)
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