Former war hero Nikki’s peaceful life is shattered when her daughter is kidnapped. Thrust into the criminal underworld while hunted by cops and the military, she must fight to rescue her child.
Every now and then, a film manages to transcend its flaws, becoming unintentionally entertaining—titles like “Sleepwalkers,” “The Happening,” and “Samurai Cop” come to mind. “Protector,” regrettably, is not one of these films. Despite the presence of notable actors such as Milla Jovovich, Matthew Modine, and D.B. Sweeney, their performances cannot rescue this movie from mediocrity.
The film introduces us to Nikki, played by Jovovich—a decorated soldier who leaves her military career behind after her husband’s death, determined to care for her teenage daughter, Chloe (Isabel Myers). When Chloe is abducted by human traffickers after sneaking out of their house one night, Nikki draws upon her extensive military training to find her daughter and bring her home.
Nikki is positioned as a “Female Rambo,” a comparison made explicit when Colonel Joseph Lavelle (Matthew Modine) cautions local law enforcement against pursuing her. In a scene reminiscent of the dynamic between Colonel Trautman and John Rambo in “First Blood,” Lavelle warns that Nikki is the most capable soldier he has ever known, capable of outmaneuvering and defeating an entire S.W.A.T. team with ease.
“Protector” aspires to the intensity and depth of “First Blood,” but falls considerably short. While director Adrian Grunberg previously helmed “Rambo: Last Blood,” a film that, despite its violence, possessed a certain watchability, here, he instead borrows liberally from “First Blood,” recreating entire scenes as though the audience will not notice. The narrative, delivered almost entirely through Jovovich’s relentless narration, removes any sense of mystery or suspense. She painstakingly explains her military knowledge and tactics, leaving the audience with little to infer. Compared to Harrison Ford’s much-maligned narration in “Blade Runner,” Jovovich’s effort is even more egregious.
Jovovich deserves credit for attempting a role that demands more emotional depth than her usual action fare. The film focuses less on action and more on Nikki’s frantic attempt to recover her daughter, a challenge that requires a nuanced emotional performance. Unfortunately, Jovovich’s delivery feels forced and unconvincing.
The supporting cast fares no better. Many of the antagonists deliver lines with such awkwardness that it becomes a distraction. Notably, a potentially pivotal sequence—Nikki’s revenge against her daughter’s initial abductor—is recounted after the fact, rather than shown onscreen. This decision robs the audience of what could have been one of the film’s most compelling moments.
An attempt at a major twist near the conclusion does little to revive interest. By this stage, the film’s shortcomings—in acting, action sequences, and overall execution—have already undermined any remaining goodwill. While the trailer may suggest promise, the final product is a profound disappointment.
In Theaters Friday, March 6th
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