Shelter is a new film set to release in theaters on January 30. Written by Ward Parry and directed by Ric Roman Waugh, the film stars Jason Statham, Bodhi Rae Breathnach, Bill Nighy, Naomi Ackie, and Daniel Mays. Set on a remote coastal island, the story follows a reclusive man who rescues a young girl from a deadly storm, drawing them both into grave danger. Forced out of isolation, he must confront his turbulent past while protecting her, sending them on a tense journey of survival and redemption.

This marks the third consecutive year of Jason Statham headlining a B-level action film. While I didn’t particularly care for the previous two, Statham’s movies still have a reliable appeal, and I’m hardly alone in enjoying them. Of the three, Shelter most closely recalls his earlier work in The Transporter trilogy, particularly in its choreography and physicality.

That said, much like his last two outings, Shelter isn’t any good. Still, there’s something to be said for Statham fully leaning into what audiences expect from him, and for a filmmaker managing to release two films in a single year—a feat I can respect, even if the final product doesn’t quite land.

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Anyone who watches this movie will likely feel like they’ve seen it countless times before. The script reads like the work of someone trying to break into filmmaking, while the action feels lifted from better movies that did it first—and did it better. Coming from the director of Greenland, it’s hard to understand how he managed to go 0-for-2 this month. Where Greenland felt relatively fresh and sincere, its sequel came off as lazy, and this film feels like outright homework-copying. Greenland wasn’t a masterpiece, but it earned some goodwill, which made my expectations—however modest—higher than what this delivers, even though the poster and title already raised red flags.

The film shows its problems almost immediately through chaotic camera work, sloppy editing, and thin characterization. When the movie cuts to its title card only to return to the exact same scene, it’s genuinely confusing and raises the question of what Statham saw in the project in the first place. To be fair, he’s likely being paid well and staying comfortably within his lane, so who am I to judge? Still, if you appreciate action films the way I do, you know there are plenty of movies that attempt this formula—and execute it far better.

Beyond its central premise, the film overcomplicates itself with unnecessary subplots involving Bill Nighy and Naomi Ackie’s characters. It’s clear the intention is to differentiate the story, but the film never manages to separate itself from far stronger examples of the genre. What Nighy and Ackie saw in this project is hard to understand, as their talents feel completely underutilized. Their characters exist solely to move the plot along and are given little to no depth. Nighy’s role, at least, fits the framework of this kind of story, but if both characters were removed entirely, the film might actually feel more focused and coherent—perhaps even allowing it to lean into themes it only half-heartedly gestures toward.

Bodhi Rae Breathnach, however, is genuinely strong. She does the best she can with the material and direction, and she even manages to develop believable chemistry with Statham, which helps ground the film when it threatens to unravel.

There are fleeting hints of something better here. Just as the film begins to suggest why Statham’s character is the way he is, it fails to explore the deeper meaning behind his need to protect this girl. One moment in particular feels unintentionally ironic, highlighting the sheer destruction his character leaves behind—so many lives lost with so little narrative weight. While the film doesn’t need to dive deep into complex characterization, it repeatedly stumbles over basic scriptwriting principles. And the ending, unfortunately, feels especially lazy.

The film finds brief flashes of competence once the action finally kicks in. As soon as those sequences begin, the movie improves—if only marginally. Ric Roman Waugh occasionally channels the kinetic energy of Jason Bourne and John Wick, and in those moments, the choreography almost works. The problem is that these scenes are frustratingly short-lived. The environments never feel fully realized or immersive, and several action beats come off as silly, implausible, or visually jarring.

Compounding the issue is a subplot involving a hitman that seems to have no clear direction. Statham’s character is repeatedly given obvious opportunities to eliminate this threat, yet inexplicably chooses not to, draining tension and credibility from the narrative.

Ironically, the film’s most consistent strength is its music. It takes some time to find its footing, but once the action ramps up, the score effectively establishes the right tone. Unfortunately, the sound design never rises to the same level, limiting the impact of moments that could have otherwise landed much harder.

Overall, Shelter is a disappointing film, even with action scenes that attempt to compensate for its weak script. While there are moments of surface-level entertainment, the action still feels like a pale imitation of movies that executed the same ideas far more effectively. The dialogue and character decisions often feel misguided and disconnected from any emotional logic.

In the end, Jason Statham’s star power will likely be enough to win over his most devoted fans. Even though the film didn’t work for me, there’s only so much I can knock it for—between its lead remaining in top-notch shape and a director who managed to release two films in a single month. It’s an effort I can acknowledge, even if the result falls flat.

VERDICT: 1.5/5 – Very Bad