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Review

Wanted Man 

Dolph Lundgren directs and stars in Wanted Man, an action thriller set along the Mexico-California border, where he plays Travis Johansen, a California cop with a troubling past. 

Recovering from a serious injury, Johansen is sent on a dubious diplomatic mission to Mexico, where he’s tasked with escorting two prostitutes who might hold vital information about the murder of DEA agents. Kelsey Grammer co-stars as Johansen's old partner, Brynner, in what often feels like a lighter spin-off from The Expendables franchise.

With seven directorial efforts since 2000, Lundgren has built a steady portfolio of B-movie action films. However, Wanted Man lacks the energy and chemistry found in his previous work, like Castle Falls (2021). Johansen’s character is problematic from the start, depicted as a racist patrol officer with a violent streak—making the decision to send him into the heart of Mexico an eyebrow-raising one.

As expected, things quickly go wrong, leaving Johansen to recuperate with the family of Rosa (Christina Villa), one of the women he's meant to protect. The film sets up predictable action beats as Johansen battles cartel members while struggling to reconcile his own prejudices. His attempts to reach out to Brynner only lead to more conflict, with the plot twists being telegraphed from miles away.

Lundgren brings his usual flair for staging gritty action sequences, blending drone shots and gunfights with a gritty aesthetic. However, his portrayal of Johansen—who gradually learns to see the humanity of the Mexican people—feels stilted. His gravelly voice and stoic demeanor become unintentionally comedic, and his physicality overshadows any emotional nuance. Grammer, with his Hawaiian shirts and laid-back attitude, doesn't do much to elevate the material either. The performances of the younger cast members, particularly Villa and James Joseph Pulido as Johansen’s Mexican contact, offer more vibrancy and depth, stealing scenes from the older stars.

The film’s script, reportedly in development since 2006, feels outdated, particularly in its treatment of race and cultural dynamics. Where a more introspective film could have explored Johansen’s transformation meaningfully, Wanted Man glosses over these themes, relying on cliched action tropes. A brief, humorous scene in which Johansen critiques a telenovela while handcuffed to a bed hints at a more self-aware film that never fully materializes.

Ultimately, Wanted Man is a throwback to old-school action films but fails to evolve beyond the genre’s limitations. Perhaps Lundgren should consider more comedic or self-parodying projects next, as the few moments of levity in this otherwise grim film are its brightest spots.

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