Jonathan Eusebio’s Love Hurts blends neo-noir crime drama with action-thriller elements, resulting in a competently crafted film that, while engaging in moments, struggles to leave a lasting impact. With a strong cast, stylish action sequences, and an intriguing premise, the film has the ingredients for something memorable but ultimately adheres closely to familiar genre conventions without introducing much that feels fresh.

The story follows Ke Huy Quan’s character, a former criminal-turned-realtor whose past resurfaces when an old partner (Ariana DeBose) reappears with a cryptic message. The situation escalates further with the involvement of his crime-lord brother (Daniel Wu), forcing him to navigate old alliances and betrayals. While this setup provides a solid foundation for a tense, character-driven thriller, the film often feels predictable, following a well-worn narrative path rather than exploring its themes in a particularly distinctive way.

There are moments of strong storytelling—particularly in the gradual reveal of the protagonist’s past—but the script relies heavily on familiar tropes. The tension is present, but it rarely builds to a level that truly sets the film apart from others in the genre.

Ke Huy Quan delivers a compelling lead performance, bringing emotional depth and vulnerability to his role. Ariana DeBose adds energy to the film, though her character’s development is limited, reducing her overall impact on the story. Daniel Wu brings intensity to his role as the crime-lord brother, but the character itself follows a familiar mould, never deviating much from expectations.

Elsewhere, Mustafa Shakir and Lio Tipton provide solid support, while Cam Gigandet and Marshawn Lynch add grit to the action sequences. Rhys Darby and Sean Astin offer moments of comic relief, though their presence occasionally feels at odds with the film’s darker tone.

As a seasoned stunt coordinator, Jonathan Eusebio demonstrates a clear talent for action choreography, and it’s in these moments that Love Hurts is at its strongest. The hand-to-hand combat is sharp and well-executed, with Bridger Nielson’s cinematography ensuring the sequences remain visually striking. However, with the film leaning more towards crime drama than full-fledged action thriller, these standout moments are not frequent enough to define the experience.

Dominic Lewis’ score effectively complements the film’s atmosphere, blending noir-inspired tones with thriller-driven beats. While serviceable, it lacks a distinctive musical identity that could have elevated the film’s mood further. The overall aesthetic is suitably dark and moody, but it never reaches the immersive heights of stronger genre entries.

Ultimately, Love Hurts is a competent thriller with strong performances and well-crafted action, but it never fully capitalises on its promising premise. While engaging enough for fans of the genre, it doesn’t do quite enough to distinguish itself, making it an enjoyable yet ultimately forgettable watch.