Coming on the heels of Atomic Blonde and John Wick 2, this movie felt like it had a lot to prove. It wasn’t helped by the miss-promotion of it as a kissing cousin to Jackie Brown. But it really isn’t any of these. The reality is that it owes more to the 1980 classic Gloria. In fact, one of the co-writers, Steve Antin, even worked on the 1999 remake of Gloria. And Gloria, of course, was also reflected of the equally classic Léon: The Professional. But Proud Mary is a pale reflection of all of these because it isn’t really anything on its own.
The heart of the issue is that Proud Mary relies on a single thing to sell it: all women want to have kids. Taraji P. Henson (Hidden Figures) is better than that, but I can understand why she took the role despite its weaknesses. How often do you get to drive a Maserati and play action hero? But the films from which it takes its roots got around the parenthood issues by removing that from the equation. Gloria and Léon were drawn into protecting their wards by circumstance, not desire. It is the struggle of them finding a human connection again that drives the stories. It isn’t that they want to be parents, it is that they want to be human.
Proud Mary does attempt to set up the reasoning for Henson’s path, but we don’t really see any transition from guilt to love, though there is lip service to that being the case. Of course, director Babak Najafi (London Has Fallen) isn’t the most subtle or capable of guides, though he gets a great sense of 70s films at the outset of the movie. But, frankly, if that’s what you’re looking for, just rewatch Jackie Brown.
So basically, yes, skip this unless you have a real jonesing for Henson or Danny Glover…because though Jahi Di’Allo Winston (Everything Sucks!) does a fantastic job as the young man, the rest of the film and the performances are really pretty mediocre at best.