The Workout, directed by James Cullen Bressack, is an interesting experiment that sits somewhere between raw intensity and rough execution. On the surface, This is a fairly familiar revenge tale: Wyatt (Peter Jae) a former Army Ranger, just as he’s beginning a new chapter with plans to launch a fitness brand, has his world shattered when a mob attack leaves his pregnant wife dead. What follows is his relentless pursuit of vengeance, with the help of his brother-in-law Levi (Josh Kelly). It’s a stripped-down story, but one told with a certain scrappy conviction.
What sets The Workout apart is its format. Instead of glossy choreography or slick camerawork, Bressack leans into a found-footage approach. The choice injects the fight sequences with a visceral, unpredictable edge; the shaky handhelds and intercut CCTV feeds give the violence a sense of immediacy that polished action films often lack. At its best, this makes the chaos feel frighteningly real. At its worst, the constant jitter and abrupt cuts can be distracting, even exhausting, especially in longer sequences.
Performance-wise, Peter Jae delivers a solid turn as the grieving Ranger, balancing raw emotion with a simmering determination. Josh Kelly and UFC fighter Ashlee Evans-Smith provide competent support, though their characters don’t get the same depth. The villains are more archetypes than fully fleshed-out threats, but they work well enough within the revenge framework.
The film’s lean runtime – just under ninety minutes – works in its favour. There’s little wasted space, and the forward momentum keeps the story moving even when predictability creeps in. By the final act, the outcome is fairly telegraphed, but the execution delivers enough grit to leave an impression, even if the final flashforward leans toward cheesy rather than satisfying.
The Workout may not revolutionise action cinema, but it carves out its own identity with grit and heart. The found-footage style won’t be for everyone, yet it brings a rawness that few modern revenge thrillers attempt. Imperfect, yes, but it’s a reminder that bold swings are what keep genre filmmaking alive. For fans willing to meet it halfway, it remains an enjoyable ride.
