A Working Man” (2025) is a Hindi-language action thriller directed by David Ayer and written by Chuck Dixon. The film is presented by Black Bear Pictures, Cedar Park Entertainment, Punch Palace Productions, and Balboa Productions, with producers Chris Long, Jason Statham, John Friedberg, David Ayer, Sylvester Stallone, Bill Block, and Kevin King Templeton. Released in theaters on March 28, 2025, the movie has a runtime of 1 hour and 56 minutes.
A Working Man 2025 Movie Overview
| Movie Name | A Working Man Movie |
| Original Language | English |
| Spoken Language | – |
| Release Date | 28 March 2025 |
| Runtime | 1 hour and 56 minutes |
| Country | United States |
| Genres | Thriller Action |
| Director | David Ayer |
| Producer | Chris Long, Jason Statham, John Friedberg, David Ayer, Sylvester Stallone, Bill Block, Kevin King Templeton |
A Working Man 2025 Movie Screenshot
A Working Man 2025 Movie Star Cast
| Actor | Role |
|---|---|
| Jason Statham | Levon Cade, an ex-Royal Marines commando, now a construction foreman |
| David Harbour | Gunny Lefferty |
| Jason Flemyng | Wolo Kolisnyk |
| Noemi Gonzalez | Carla Garcia, Jenny’s mother |
| Emmett J. Scanlan | Viper |
| Eve Mauro | Artemis |
| Max Croes | Karp |
A Working Man 2025 Movie Trailer
A Working Man 2025 Movie Review
The story centers on Levon Cade (Statham), a former black ops specialist who’s traded his shadowy past for a hard hat and a quiet life as a construction worker in Chicago. He’s a man of few words, living simply to provide for his young daughter, Merry (Isla Gie), while keeping his lethal skills under wraps. That is, until the teenage daughter of his boss, Joe Garcia (Michael Peña), is snatched by human traffickers tied to a Russian mob syndicate. Cue the inevitable: Levon dusts off his old playbook, grabs a few tools (literal and figurative), and sets out to dismantle the criminal underworld brick by brick.
Statham is in his element here, embodying Levon with the steely resolve and physical prowess fans expect. At 57, he’s still a convincing action hero, though his fight scenes rely more on brute force and tactical precision than the high-flying acrobatics of his Transporter days. Highlights include a brutal showdown in a derelict bar, scored to Dropkick Murphys’ “The Boys Are Back,” where Levon uses a sledgehammer to devastating effect, and a tense infiltration of a mob hideout that ends in a hail of gunfire. Stunt coordinator Eddie Fernandez keeps the action tight and visceral, though some sequences feel overly choreographed, lacking the raw chaos that could’ve elevated them.
David Ayer brings his signature grimy aesthetic to the film, with Chicago’s industrial sprawl serving as a fitting backdrop. The cinematography leans hard into moody lighting and overexposed skyline shots—sometimes to a fault, as the constant cityscape inserts disrupt the pacing. Ayer’s direction shines brightest in the quieter moments, like Levon’s tender exchanges with his daughter, which hint at a deeper emotional core the film never fully explores. Instead, the script (adapted from Chuck Dixon’s novel Levon’s Trade) piles on subplots—Russian mob rivalries, a blind ex-comrade (David Harbour) supplying weapons, and a sequel-baiting cliffhanger—that bog down the straightforward revenge tale.
