Former CIA assassin Peter Barrett (Charlie Weber) is living off the grid rural Oregon as a painter after a tragedy 17 years prior caused a rift between his estranged wife and fellow agent Elena Maran (Rryla McIntosh) brought about by the death of their unborn child. Peter's life is interrupted when a young woman, Sophia (Madison Bailey), shows up claiming to be his and Elena's daughter and is seemingly hunted by CIA assassins. Seeking help from his mentor and adoptive father Henry Byrne (Jon Voight), Peter with Sophia in tow seeks to find out the reason behind Elena's apparent disappearance as they elude the corrupt section chief Naomi Piasecki (Marie Avgeropoulos) and her top assassin Ghost (Max Montesi).
The Painter is a 2024 action film that comes from Paramount's recent relaunch of the Republic Pictures label which is an extension of the company's Paramount Global Content Distribution which specializes in low to mid budget genre fare such as last year's Assassin Club. Produced with a primarily Canadian cast who are primarily affiliated with TV shows, the biggest names attached are producer Steven Paul and actor Jon Voight who are no strangers to working together with the two having jointly brought to life such films as the Baby Geniuses series, Karate Dog, and the Bratz movie through their regular collaborations. From the plot and production it's clear that The Painter is cookie cutter action junk tailor made for international deals at film markets and easy consumption through VOD, and while that alone shouldn't necessarily put you off something like this, the complete lack of passion and enthusiasm on display certainly is.
From the opening sequence which sees Jon Voight sporting a ridiculous fake moustache that's barely above the level of something from a joke shop to exposition laid on so thick you can practically cut through it, The Painter has all the hallmarks of a Canadian tax shelter production complete with threadbare production values that look barely above the level of a scrapped TV pilot. Charlie Weber is a charisma vacuum in a role that calls for him to be about as boring as you can make a leading man and Madison Bailey has no chemistry with Weber with the father/daughter dynamic never taking hold and leaving the actors feeling aloof from the material. Jon Voight sleepwalks through his role with the only unintended amusement coming from him being (according to the movie anyway) a "master of disguise". Despite being helmed by a stunt coordinator Kimani Ray Smith, The Painter is decidedly lacking in memorable action beats with most them not all that well staged, no real memorable choreography, and in some cases just outright leaps in logic such as a scene requiring Peter "teleport" in order to avoid certain death. That's to say nothing of the CIA that's so stupid that their strike team apparently goes out into the field with "CIA" written on their tactical gear (and hidden by just a velcro strap by the looks of things). The one (mostly) consistently enjoyable thing was Max Montesi as Ghost who doesn't give a good performance, but it's so energized in its scenery chewing tonal collision with the rest of the film that I did get some unintended laughs from it.
At a time when the assassin subgenre of action films leaves average viewers spoiled for choice with better alternatives (The Beekeeper is a much better movie of this type that leans into the silliness) The Painter has even less reason to exist beyond being bad at its job. As we await the inevitable day this film disappears into the back ends of Tubi and Amazon Freevee, when that day comes remember: there are much better options.
The Painter is a 2024 action film that comes from Paramount's recent relaunch of the Republic Pictures label which is an extension of the company's Paramount Global Content Distribution which specializes in low to mid budget genre fare such as last year's Assassin Club. Produced with a primarily Canadian cast who are primarily affiliated with TV shows, the biggest names attached are producer Steven Paul and actor Jon Voight who are no strangers to working together with the two having jointly brought to life such films as the Baby Geniuses series, Karate Dog, and the Bratz movie through their regular collaborations. From the plot and production it's clear that The Painter is cookie cutter action junk tailor made for international deals at film markets and easy consumption through VOD, and while that alone shouldn't necessarily put you off something like this, the complete lack of passion and enthusiasm on display certainly is.
From the opening sequence which sees Jon Voight sporting a ridiculous fake moustache that's barely above the level of something from a joke shop to exposition laid on so thick you can practically cut through it, The Painter has all the hallmarks of a Canadian tax shelter production complete with threadbare production values that look barely above the level of a scrapped TV pilot. Charlie Weber is a charisma vacuum in a role that calls for him to be about as boring as you can make a leading man and Madison Bailey has no chemistry with Weber with the father/daughter dynamic never taking hold and leaving the actors feeling aloof from the material. Jon Voight sleepwalks through his role with the only unintended amusement coming from him being (according to the movie anyway) a "master of disguise". Despite being helmed by a stunt coordinator Kimani Ray Smith, The Painter is decidedly lacking in memorable action beats with most them not all that well staged, no real memorable choreography, and in some cases just outright leaps in logic such as a scene requiring Peter "teleport" in order to avoid certain death. That's to say nothing of the CIA that's so stupid that their strike team apparently goes out into the field with "CIA" written on their tactical gear (and hidden by just a velcro strap by the looks of things). The one (mostly) consistently enjoyable thing was Max Montesi as Ghost who doesn't give a good performance, but it's so energized in its scenery chewing tonal collision with the rest of the film that I did get some unintended laughs from it.
At a time when the assassin subgenre of action films leaves average viewers spoiled for choice with better alternatives (The Beekeeper is a much better movie of this type that leans into the silliness) The Painter has even less reason to exist beyond being bad at its job. As we await the inevitable day this film disappears into the back ends of Tubi and Amazon Freevee, when that day comes remember: there are much better options.