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But it’s Statham’s movie – a brisk, slick, ultra-violent action onslaught that yet again demonstrates his ability to redeem just about any old tosh.

The action in The Beekeeper is suitably R-rated and generally satisfying — Statham knows his way around fight choreography — though it brings to mind the 2019 Wall Street Journal article about how Statham, Vin Diesel, and the Rock are contractually forbidden from losing a fight onscreen.

It's a real shame that "The Beekeeper" isn't the righteous trash masterpiece that it keeps threatening to turn into... Still, at its best, which is when Statham dominates the screen, shooting and maiming bad guys and setting gigantic fires, "The Beekeeper" is a work in the spirit of "Billy Jack" and the original “Walking Tall."

There’s a grubby, late-night appeal to his dialled-up trash aesthetic and The Beekeeper mostly works because of it.

Statham is as gruffly convincing as he usually is... but the action scenes are horribly inconsistent: fine in the hand-to-hand stuff, sloppy elsewhere. It’s all wildly over-edited and wildly over-lit, too, like the worst of Michael Bay’s vices, and it’s very hard to care about any of the fights, given we know so little about any of the characters...

“The Beekeeper” might share DNA strands of plot with “John Wick,” but it does not have the poetry and soulfulness of those films; where “John Wick” is brooding, this is brutish. Statham does not express the sorrow that Keanu Reeves does, and he doesn’t have to do much other than growl, wear a baseball cap and kill people creatively.

By the time a final showdown snaps your suspension of disbelief and suggests there are bigger hornet’s nests to kick, The Beekeeper has crept out of the realm of pulpy B-movie thrills and falls just short of being a Bee movie dabbling in deep-state paranoia-mongering.

It’s not unlike a partially completed sketch whose occasional flashes of color only serve to remind us how incomplete and lazily constructed the rest of it is.

“The Beekeeper” brings a vaguely radical energy to that idea — an energy that, if nurtured, could make this into a politically chaotic series that distances itself from its better-crafted peers on the strength of its go-for-broke irreverence.

Any eye-rolling quips or comic-book acidity is generally outweighed by this fundamental understanding: the best special effect your action film can deploy is Jason Statham kicking people.

Statham excels as a straight-faced goof. Between his glower and the movie’s high-quality production values, this brain cell-destroying schlock resembles an earnest drama. Yet, Ayer makes it plain that he’s in on the joke.

Glorifying endless violence as these films tend to do... The Beekeeper is exactly what it appears to be. Nothing more, nothing less. But even within that two-dimensional framework... The Beekeeper feels stale and rather one-note.