1 of 5 | Jason Statham is “A Working Man,” in theaters Friday. Photo courtesy of Amazon Content Services LLC

Adapted from Chuck Dixon’s novel Levon’s Trade by Sylvester Stallone and director David Ayer, the story has familiar but reliable tropes. Levon’s set of skills are as particular as those of Liam Neeson’s character in Taken, enabling him to succeed where basic law enforcement fails, and no matter how many enemies attack him.

The Beekeeper elevated the genre with its cryptic explanations of covert agents and the flamboyant villains Statham’s Beekeeper faced. The baddies ranged from cyber scammers to outrageously high levels of authority, which made it even more fun.

The kidnappers in A Working Man are basic human traffickers funded by the Russian mob. They do their best to add flourishes in costume and demeanor, but no generic Russian villain is as memorable as the rogue Beekeepers who came after one of their own.

Human trafficking is also a much more real and unsettling crime. While cyber scams are real and devastating, The Beekeeper took it to a wonderfully absurd degree.

Still, it is undeniably satisfying to watch Levon shoot rapists and send them flying to the back wall of the room. He employs extraordinary interrogation on equally deserving targets, especially when he scolds them for unrelated but equally unsavory offenses.

There are fewer fights in A Working Man. Levon rescues one of his crew from gangsters as an appetizer, but the plot does not lead to as many scuffles. It still has a big finale with Levon taking on the mob and a biker gang at once.

The supporting characters exhibit maybe 1% more color than their plot functions require. Levon is fighting his late wife’s father (Richard Heap) for custody of his daughter (Isla Gie), so it’s nice to see Levon prove his worth to his father-in-law later in the film.

Jenny misses a piano recital when she’s kidnapped, so when she finds a piano in captivity and plays, it has earned that poignancy. In addition, Levon’s war buddy Gunny (David Harbour) is so lovable as a blind marksman that it is a shame he only babysits, rather than joining in the action.

Even though he’s a working man, the film does get Levon in a suit for one scene. Levon cleans up as well as Statham in The Transporter.

It is clear A Working Man was made by people who know what fans come to see in a Statham movie. Both Ayer and Stallone are frequent collaborators.

Perhaps the source material kept Working Man more grounded, or maybe adding the Statham elements made it far more outrageous than Dixon’s version. Though it’s not the best, it is the Statham movie that’s in theaters right now, and that’s not a bad thing.

Fred Topel, who attended film school at Ithaca College, is a UPI entertainment writer based in Los Angeles. He has been a professional film critic since 1999, a Rotten Tomatoes critic since 2001, and a member of the Television Critics Association since 2012 and the Critics Choice Association since 2023. Read more of his work in Entertainment.

Cindyana Santangelo, a philanthropist, model and actor who made memorable appearances in music videos for Young MC and Jane’s Addiction and had roles in “ER” and “CSI: Miami,” died Monday at a hospital near her Malibu home, the Los Angeles County Sheriff’s Department confirmed to The Times.

The Los Angeles County Fire Department was called to a home on Westlake Boulevard in Malibu for a medical emergency around 7:15 p.m. Monday, the sheriff’s department said in an alert. She was taken by paramedics to a hospital where she was pronounced dead. The cause of death is unknown; an autopsy is pending. Sheriff’s homicide investigators are assisting deputies from the Los Hills Sheriff’s Station with the continuing investigation, as is routine when the cause of death is unknown.

Born Cindy Lehrer in 1967 in Manhattan, per IMDb, she was raised in Los Angeles. She started out as a dancer, appearing in various music videos in the late 1980s and early 1990s, including Young MC’s “Bust a Move” video. She also delivered the Spanish-language introduction to the “Juana’s Adicción” tune “Stop” in a Jane’s Addiction video, leading frontman Perry Farrell to later describe her to Spin magazine as “the Latin Marilyn Monroe.”

As Cindyana Lair, she appeared on “Married … With Children” as Jiggly Room dancer Sierra Madre.

She married Frank Santangelo in 2001 and was the mother of two boys. Her LinkedIn page lists her as the director and chief executive of Mermaids Cove Malibu, described as an all-women’s luxury sober living facility. In what appear to be documentary or reality-show promos based on Mermaids Cove, Santangelo described herself while discussing why she chose to help others.

“I’m Cindyana. I’m a great mommy, a wife, a daughter, a friend, a CEO — and a recovering addict,” she says in one video, adding later, “I had kind of the party rock star life, but I ended up as sort of, everybody knows, a low-bottom junkie.

“When I had the blessing to get clean and sober this time,” she says, “I realized that there was a niche in this market of recovery for people like me. That someone like me could touch only a certain ilk of women, that they would believe it and hear it only from me.”

Santangelo spoke with The Times in 2008 when she was offering up what was then her home in Malibu Cove Colony as an August rental, asking $55,000 per month. Regis Philbin and his wife, Joy, were interested, she said at the time.

Santangelo’s friends remembered her online Tuesday and Wednesday.

“My heart aches as I write this. I’m still in shock and disbelief. How can you be gone??? … Malibu was your paradise, where your soul danced with the tides and your laughter blended with the sound of the waves,” Cynthia Banuelos wrote on Instagram in a post mourning Santangelo’s passing. “You had a heart as vast as the ocean, a spirit as free as the wind, and a love that ran deeper than the blue depths you adored. Frank and the Boys (Dante & Lucci), were your reason for living.”

“Swim free, my beautiful mermaid. Until we meet again,” she added.

“Head of the Class” actor Kimberly Russell chimed in on Banuelos’ post, writing in comments, “my beautiful Cindyana …. an angel in life …. this is shocking rest in peace …”

“No no no! This is impossible,” German actor Xenia Seeberg wrote in comments. “We just spoke a few days ago and planned together for Thailand and Istanbul and how we would see each other again much more often…! I am in complete shock. What happened to my beautiful sister??? Much too early to rest in peace.”

“I am devastated of this horrific news,” Samantha Bennington, wife of the late Linkin Park frontman Chester Bennington, said in comments. “We were just about to celebrate her for her birthday!!!! This is a huge loss, not only for us as her family and friends, but for the entire community!!!! You will forever be in our hearts and we’re here for you all Frank and the kids. We are here for you.”

Bennington also put up her own Instagram post where she thanked Santangelo, saying, “you wrapped your arms around me and accepted me and loved on me as a friend the very first moment you met me I’ll never forget you for welcoming me into your tribe … heartbroken.”

2.5/5 stars

Nick Cheung Ka-fai is one of the most prominent active Hong Kong actors to have dabbled in directing, and in doing so has proved himself a talented visual stylist and world builder with a penchant for the dark and supernatural.

But the main reason Cheung is not known as a visionary filmmaker is that, despite all his stylish visuals, he is a clumsy storyteller who could not fashion a convincing narrative to save his life.

The nominal lead in his latest effort, Peg O’ My Heart, is Dr Man (Terrance Lau Chun-him), an unorthodox psychiatrist at a public hospital who has time and again broken protocol and taken patients’ cases into his own hands, interfering in their private lives to get results.

Man’s interactions with his doting assistant, senior nurse Donna (Rebecca Zhu Chenli), and his frustrated but protective superior – the hospital director played by Geoffrey Wong Chi-hung – make for amusing viewing that would not be out of place in a quirky sitcom.