"The Enforcer" epitomizes the old, worn-out trope of a hardened criminal with a tender heart. In this gangland suspense, Antonio Banderas’ stellar charisma shines. He portrays a seasoned mob enforcer who takes a defiant stand against his own clan to save a young girl. The film, directed by Richard Hughes in his first-ever feature-length, gains some value from its polished, fashionable execution, although the script, penned by W. Peter Iliff, the original writer for "Point Break," traps it within the confines of a formulaic genre piece.

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The story unfolds with Cuda (Banderas) returning to society after serving time. He willingly shoulders the blame for actions undertaken on behalf of Miami’s crime queen, Estelle (Kate Bosworth). As he tries to rebuild ties with his estranged 15-year-old daughter, he faces an uphill battle given her suspicions and the outright resentment from his ex-wife. Subsequently, this seems to inspire a paternal attachment towards Billie (Zolee Griggs), a 15-year-old foster care escapee. After shielding her from potential trouble related to shoplifting, he secures her a motel room. He protects her from the very streets he knows to be perilous. However, when Billie is unexpectedly kidnapped, likely by sex traffickers, Cuda quickly concludes that his own employers are the prime suspects.

The film highlights the paradox of defending innocence while simultaneously portraying provocative scenes of scantily clad women in strip clubs and illicit sex dens. The character of Cuda — also known as "The Barracuda" — further accentuates this conundrum. Cuda, notorious for his ruthless enforcement, now finds himself in a position of sacrificing everything to safeguard one naive teenager. The script fails to reconcile or explain his sudden transformation, simply painting him as a redeemable villain.

Banderas, despite his phenomenal performance in other films like "Official Competition" and "Pain and Glory," seems underutilized in this role. Although, he does bring a measure of dignity and depth to what could easily have been a one-dimensional character. In contrast, Bosworth’s portrayal of the antagonist comes off as rather stereotypical and unvaried until the flamboyant climax. This leaves the talented actress with limited room to demonstrate her skills which were recently displayed in “House of Darkness” and “The Immaculate Room."

Mojean Aria, playing the role of a nomadic young brawler turned professional mentee to Cuda, is another principal character. The character's uninspired name, "Stray," indicates the lack of depth in the script. Even Aria’s undeniable talent fails to compensate. The remaining characters, despite inconsistencies in their performances, manage to play their parts adequately.

In the film's early stages, "The Enforcer" thrives on its fluorescent-noir aesthetics. DP Callan Green's panoramic visuals and vibrant hues successfully convey a predominantly nocturnal Miami ambiance. However, it is surprisingly filmed in Thessaloniki, Greece, as disclosed in the closing credits. The film’s climax is a high-stakes ballet of violence, showcasing Hughes's knack for action choreography, despite some stretches in believability. The slick editing by Damian Gomez and Mattias Morheden maintains a smooth rhythm, even though the film fails to induce real suspense or thrill.

Unfortunately, the film's ambition to project a sense of tragedy, hampered by the revealing opening scene, falls flat due to lack of character depth. In its pursuit of grandeur, "The Enforcer" only manages to brush the surface of the generic.