Oscar Shaw Review: A Revenge Thriller Afraid to Misbehave

TL;DR

It growls like a pitbull, bites like a tired chihuahua, and still expects applause.

A revenge thriller that keeps checking its reflection to see if it still looks respectable.

Oscar Shaw isn’t terrible. That’s the problem. It had every opportunity to be nasty, lawless, and gloriously wrong… and chose instead to be well-behaved.

In CRIMENET terms, that’s not a felony. It’s a failure of ambition.

Before you watch Oscar Shaw, gear up like a man who’s already decided the law is optional.

That leather-jacket-and-regret look doesn’t assemble itself. Wulful Leather Motorcycle Jacket on Amazon – expensive, indestructible, and makes you look like you’ve buried secrets under concrete.

So You Wanna Be a Bad Guy (But Not Too Bad)

This film wants to be a criminal fantasy so badly you can hear it wheezing. A man wronged by the system returns to the streets for revenge. Fantastic. That’s cinema’s oldest, sexiest lie. Except here, every time it looks like it’s about to embrace glorious moral decay, it panics, straightens its tie, and politely asks the audience if crime is maybe… bad?

If you’re going to flirt with villainy, don’t bring a hall monitor.

Revenge, In Theory, Eventually

The plot moves like rush-hour traffic driven by someone who keeps braking to remember their childhood trauma. Things happen, technically, but urgency is replaced by a lot of standing around looking stern, as if intensity alone might push the story forward.

This is a revenge movie that frequently forgets it’s supposed to be angry. Imagine John Wick stopping mid-gunfight to journal about feelings. That’s the vibe.

Angry Men Staring at Things

The lead performance is solid, grim, and convincingly fed up with the universe. Unfortunately, the script gives him the emotional range of “sad man stares at wall” and asks him to repeat it until the credits roll.

Supporting characters pop in like they’ve been summoned by Google Calendar reminders. Some have menace. Others feel like they wandered in from a completely different, cheaper film. The villains, in particular, have the threatening presence of men who shout in traffic but apologize immediately after.

Inspirational Quotes from a Gas Station Wall

The dialogue swings wildly between trying very hard and giving up entirely. Every line sounds like it was written at 3 a.m. by someone who just discovered the word “redemption” and now refuses to stop using it.

Nobody talks like this. Not criminals. Not cops. Not humans. It’s less street talk, more inspirational fridge magnet soaked in regret.

Welcome to Gritty City™

Visually, the film nails “urban grit” the way a theme park nails “danger.” Neon lights. Dark alleys. Concrete everywhere. You half expect a gift shop selling “GRITTY CITY” hoodies near the final act.

It looks grim. It feels grim. But it never smells grim, if you know what I mean. Too clean. Too safe. Too aware that someone might be watching with a clipboard.

Plot slowing down? Perfect time to shop like a morally flexible adult.

Nothing says “urban revenge thriller” like caffeine, paranoia, and poor decisions.

👉 Black Rifle Coffee Company K Cups – tastes like insomnia and unresolved trauma.

👉 Cold Steel Tactical Fixed Blade Knife – for opening packages. Obviously.

Point Camera, Look Serious, Repeat

The camera work is competent, which is a polite way of saying it never once scares the audience or surprises anyone with a pulse. Action scenes appear occasionally, do their job, and leave before anything interesting can happen. Like a bar fight broken up by management before the chairs start flying.

This movie doesn’t commit crimes. It commits misdemeanors.

Sad Violins Begging You to Care

The score tries desperately to convince you that something huge is happening. It swells. It broods. It whispers, “This matters.”Unfortunately, the film underneath it is saying, “Please don’t be mad at us.”

It’s like putting a thunderstorm soundtrack over a PowerPoint presentation.

Crime, But Make It Polite

Here’s the real crime: the movie keeps flirting with moral ambiguity, then immediately apologizing for it. Every time the protagonist edges toward true villain territory, the film yanks him back like a dog near traffic.

CRIMENET doctrine states clearly: if your crime movie keeps reassuring us that the hero is still a good boy, you’ve missed the point entirely.

Good If the Remote Is Out of Reach

Would you rewatch it? Maybe. If it’s on. If the remote is far away. If you’re folding laundry.

This is not a film that crawls into your brain and refuses to leave. It politely thanks you for your time and exits through the side door.

Finished the movie and feeling mildly disappointed? Same. Buy something stupid.

Because if the film won’t deliver danger, Amazon absolutely will.

👉 Under Armour Tactical HeatGear Hoodie – worn by men who “aren’t angry, just disappointed.”

👉 Oakley Gascan Sunglasses – so people can’t see you judging this movie in public.

FAQ

Is Oscar Shaw worth watching? Yes, if your expectations are low and your tolerance for restraint is high.

Is it actually about crime? Technically. Emotionally, it’s about not upsetting anyone.

Does it glorify criminals? Not enough. It flirts, blushes, and changes the subject.

Is it anti-cop? Only in the way a resignation letter written by HR is anti-boss.

Will CRIMENET readers love it? They’ll enjoy parts. Then shout at the screen for the rest.

Does it commit to its own premise? Like a getaway driver who slows down for speed bumps.