With a more sizeable budget, one could imagine a film like Hunting Season being the perfect vehicle for an action figure like Jason Statham. It utilises a simple premise, indulges in a certain neo-Western mentality, remains remarkably asexual, and ultimately culminates in a violent shoot-out where murky good triumphs over pure evil.
Except Statham isn’t levelling up to play in director Raja Collins‘ hunting ground here – Mel Gibson is. The actor-director is certainly no longer the draw he once was in his heyday, but, to Gibson’s credit, he’s committed to the cause of Adam Hampton‘s script, which sees him put his gruff, protective dad mentality to the hilt as Bowdrie, who, in between hunting deer and chopping wood, raises his daughter, Tag (Sofia Hublitz), in an off-the-grid cabin; it’s a quiet, frugal, but survivalist-minded existence that seems to suit the duo.
As is the case with these types of narratives, their routine is disrupted by finding the injured January (Shelley Hennig) on a nearby riverbank. Much like January is unsure if she can trust Bowdrie and Tag, the father-daughter duo are cautious of her presence too. They want to help her, but her injuries suggest more than just being randomly attacked, and when she relays just what exactly happened it becomes clear that Bowdrie and Tag are now in the line of fire for merely assisting her; we learn that January and her best friend (Scarlet Rose Stallone, yes, one of Sylvester’s offspring) were attacked by masked men under the employ of a ruthless crime boss, Alejandro (Jordi Mollà), for their connection to someone named Jensen (Rocky Myers).
It’s only a matter of time before Bowdrie takes matters into his own hands, and, indeed, Alejandro and his man track January down and Bowdrie’s cabin becomes the setting for a showdown that, whilst maybe too short lived for such an action-minded film, is enjoyable in its violent exposition. Despite its title and set-up, audiences may be surprised that Hunting Season isn’t quite as physical as expected. It’s only a 90-ish minute movie, and Hampton’s script aims to flesh out its characters more than indulge in extended action sequences, which, whilst commendable on wanting to be more than a throwaway genre example, could irk those expecting something more standard. It isn’t without its set-pieces though, with Gibson leaning into his wild, intimidating persona when he scares information out of one of Alejandro’s henchmen by tying him to a chair and torturing him with a hanging lawnmower over inches away from his face. It’s a reminder of the casual, unhinged nature the actor delighted in in such efforts as the Lethal Weapon series, making you wonder how an aged Riggs would handle himself today.
Whilst it may not be as relentless a film as it could have been, the father-daughter dynamic adds some emotional weight to proceedings, and Gibson and Hublitz play off each other with a certain naturality. Similarly, Hennig makes for an impressive presence as someone who’s only the damsel in distress through circumstance, and her chemistry with both Gibson and Hublitz proves equally as organic, both playing off them as a duo and as individuals. The human element elevates Hunting Season beyond the simplistic actioner most people will be expecting, but, ironically, it could be what undoes it for said audience.
THREE STARS (OUT OF FIVE)
Hunting Season is in theatres in the United States and available On Digital and On Demand from December 5th, 2025.
