The Protege

While combining familiar tropes about assassins seeking redemption and revenge, The Protégé keeps shooting itself in the foot.

Talented collaborators on both sides of the camera are stranded by this formulaic thriller that manages a handful of stylish action sequences but little intrigue to tie them together.

The title character is Anna (Maggie Q), who was rescued as a child in Vietnam by a cunning hitman (Samuel L. Jackson) and subsequently trained as his heir apparent. By day, she conceals her identity as a mild-mannered London bookstore owner.

Then a brutal tragedy causes the harsh realities of the family business to hit close to home, forcing the brooding Anna on the run with a quest for vengeance. Her mission brings her into repeated contact with a mysterious stranger (Michael Keaton) — named Rembrandt and with an artistic appreciation to match — whose playful flirtations with the younger Anna mask ulterior motives. Is he an ally or an adversary, or both?

As Anna battles henchmen with conflicted loyalties in search of answers, secrets are revealed that tie her troubled past with Rembrandt more closely than she ever imagined.

The Protégé occasionally hints at ambitions greater than mindless popcorn fare, yet it lacks the courage to follow through on any of those more thoughtful, character-driven ideas.

Instead, we’re left with a parade of violent confrontations and stunt-filled combat scenes with assembly-line bad guys, which are capably staged by veteran director Martin Campbell (Casino Royale), yet reflect the film’s inability to muster much second-half suspense.

That’s a shame considering the strong cast, which brings depth and complexity — and a mild rooting interest — to characters who ultimately don’t warrant much emotional investment.

Jackson isn’t given much to do, although for a while, watching Keaton and Maggie Q (Divergent) match brains and brawn is fun if also kind of creepy. The latter flashes sufficient charisma and physical dexterity to suggest she’s deserving of better vehicles for her talent.

At any rate, the muddled screenplay by Richard Wenk (The Equalizer) fails to combine its genre parts into a compelling whole. Instead, it indulges in cliches and eye-rolling coincidences while never giving its stars a fighting chance.

Rated R, 109 minutes.