Nerdly » ‘Old Guy’ Review

28th Mar2025

‘Old Guy’ Review

by Kevin Haldon

Stars: Christoph Waltz, Cooper Hoffman, Ann Akinjirin, Lucy Liu, Conor Mullen, Rory Mullen | Written by Greg Johnson | Directed by Simon West

Oh my god… Con Air’s Simon West is back!!!

Old Guy centres on Danny Dolinski (Christoph Waltz), a seasoned contract killer who’s been a top-tier assassin for a shadowy organization known only as “The Company” for over three decades. Now in his sixties, Danny is grappling with the physical toll of his career, specifically, arthritis in his shooting hand, which has forced him into managing a safe house in London. He’s a relic of a bygone era, complete with a ’70s-style moustache, leather jacket, and a deep love for hard partying, heavy drinking, and casual flings. Despite his age and ailments, Danny believes he’s still got “gas in the tank” and longs to return to the field.

His chance comes when his handler, Opal (Ann Akinjirin), assigns him a new mission: to train Wihlborg (Cooper Hoffman, son of the late Phillip-Seymour Hoffman), a Gen Z prodigy assassin with a reputation for precision but a tendency to leave collateral damage in his wake. The mismatched duo is sent to Belfast to eliminate key figures in a rival crime syndicate, a job that’s meant to test Wihlborg’s readiness and ease Danny into retirement. For some reason along for the ride is Anata (Lucy Liu), a club owner and old friend of Danny’s, who somehow becomes entangled in their mission. Predictably, the plot takes a turn when Danny and Wihlborg uncover a double-cross: The Company isn’t just phasing out the old guard, they’re planning to eliminate them entirely. What follows is a standard revenge arc as the pair, with Anata’s help, turn the tables on their employers.

The cast is undeniably where this flick really takes off as Waltz is able to effortlessly flex his acting chops even while working with material that at times is maybe less than his standard fare.

Speaking of Waltz, he brings his signature charisma and charm to the role, making Danny a watchable, if not exactly overly original protagonist. His moustachioed, leather-clad hitman dances through neon-lit clubs with a grin, exuding a mix of bravado and vulnerability that’s just so Waltz. He’s at his best in quieter moments, like when he’s nursing a hangover or reflecting on his upcoming forced retirement, where his expressive face conveys more than the dialogue ever could. Meanwhile Cooper Hoffman, in his second major role after Licorice Pizza, shows a lot of promise as Wihlborg and is meant as the perfect foil to Danny. A teetotaling, gluten-averse Gen Z stereotype with painted nails and pastel streetwear. The plot doesn’t give him much beyond quirky attributes and a vague “prodigy” label but Hoffman is able to inject some sincerity into Wihlborg’s brash at times unearned confidence, He does excel in his action scenes which are competent, though his supposed brilliance as a killer is never really fully realised.

In terms of the supporting cast, Ann Akinjirin as Opal delivers a solid, no-nonsense performance, though her character is a standard “cold boss” archetype. The various mobsters and henchmen (played by actors like Conor Mullen and Rory Mullen) are serviceable, existing only really to be taken down by our would-be heroes. However, Lucy Liu is sadly wasted in a role that feels tacked on and really doesn’t give her a lot to do. As Danny’s longtime friend and potential love interest, she has an easy rapport with Waltz that hints at a deeper history, but the film does little with it. Anata’s involvement in the plot feels forced, she’s dragged along to Belfast for no clear reason beyond serving as a sort of therapist between Danny and Wihlborg. But her character lacks depth. Having said that Liu’s natural charisma shines through, especially in a few flirtatious exchanges, but it’s a shame she’s relegated to a bit of a glorified cameo.

Simon West, known for high-octane action films like Con Air and The Expendables 2, seems uncharacteristically dialling it back with this one. Old Guy opens with a stylish title sequence that promises a slick, energetic ride, but the film quickly settles into a bit of a slow burn. The action scenes are mostly close-range shootings with minimal choreography, and while they are fine they are a little bit uninspired, lacking the flair West has brought to past projects. A car chase and a shootout in an abandoned mall offer brief bursts of excitement, but they’re few and far between to leave any real lasting impression.

Greg Johnson’s screenplay is the thing that holds this flick back a little. It leans heavily on clichés, the grizzled veteran vs. the cocky rookie, the double-crossing employer, and the last-minute redemption, without really adding anything fresh to the mix. Which is fine because it does what it needs to do well. The dialogue aims for Tarantino-esque wit but lands closer to the odd cringey one-liner like “The ’90s called: They want your haircut back”. The generational clash between Danny and Wihlborg is a lot of the heart of the story while Danny mocks Wihlborg’s nail polish, Wihlborg lectures Danny on the evils of alcohol in some of the most well-written personal moments.

Old Guy moves toward themes of ageing out and mentorship. Danny’s struggle with his physical decline and The Company’s push for younger blood was actually a compelling exploration of ageism, especially in a profession as brutal as contract killing. While Danny proves he’s still got it, Wihlborg learns a lesson, and they team up to take down the bad guys. The buddy-comedy dynamic, a la Lethal Weapon or 48 Hrs, is the film’s hook. Their odd-couple pairing gels really well, and the script utilises these characters to great effect.

For fans of the aging-hitman subgenre (think Neeson’s recent output or Stallone’s Tulsa King), Old Guy does pass the test although it doesn’t make any big advances in the genre and compared to its apparent inspirations, like In Bruges or Grosse Pointe Blank, it does pale in comparison.