Beckinsale flick gives welcome ‘Jolt’ to revenge film tropes

Ever wanted to clock a manspreader? Punch an entitled misogynist? Wallop a rude server? It's not polite to admit, especially for women, but to deny that violent thoughts can be a part of the human condition is to deny what it means to be human, and even, perhaps, what it means to be a woman. That's why Tanya Wexler's clever, nasty little action flick “Jolt” is so much fun: it allows the viewer to indulge in the pleasure of bloody fantasies, while exploring the ways in which rage, and its culturally imposed repression, can be an integral part of the female experience.

Our lethal heroine, the crass and charming Lindy (Kate Beckinsale) is a “unique specimen,” as we come to find out in an expository opening sequence. She has an “impulse control problem” driven by her anger, and combined with a traumatic childhood and years of isolation and lab rat style testing, plus military training, she evolved into a superwoman fighting machine with terrible social skills. The only treatment she's found to keep her violent impulses tamed, which allows her to live as a functioning member of society, is a vest of electrodes through which she administers herself electric shocks, zapping her fantasies into submission.

Her situation makes dating even more challenging than it already is, so when a blind date with a mild-mannered accountant named Justin (Jai Courtney) turns steamy, it rocks Lindy's world. So much so that when Justin turns up dead, she wants revenge, and she's taking it all the way to the top. You can't blame her, after a night like the one she had with him. A good man is hard to come by.

Written by Scott Wascha, the script is simultaneously crude, rude and whip-smart. Directed by Wexler, the film is rapid-fire attack of highly stylized skirmishes and aestheticized action. The lighting is particularly pleasing: jewel-toned gels abound, a pink neon glow permeates Lindy's apartment, and an underground fight club is lit by only by flashlight, an intimidating donnybrook into which Lindy marches and asks to speak to the manager.

At the center of this whirlwind is Beckinsale, who has already proved her action chops as vampire warrior Selene in the “Underworld” movies. Here, she gets to kick butt, but also be the chatty, snarky, well-meaning yet wild Lindy, who just wants to be loved despite all her rage.

“Jolt” isn't prestige cinema, but it is far smarter than its exploitation trappings. Wexler and Beckinsale truly make a meal of the gender flip that is sending a woman to wreak bloody havoc in revenge for the murder of a sweet, nerdy hunk.