The script for “Boss Level” was written back in 2010, when the idea of making an action film inspired by “Groundhog Day” (released in 1993) still seemed original. However, the movie only hit screens in 2020, and after “Edge of Tomorrow,” it can no longer boast originality — instead, Joe Carnahan’s film (“Smokin’ Aces,” “The A-Team”) is now more relevant than ever. The plot of “Boss Level” echoes that of a classic video game, where the player must defeat various opponents to finally reach the boss (played by Mel Gibson). In this way, “Boss Level” follows the trend of video game adaptations that has swept cinema in recent years, giving viewers such hits as “The Witcher,” “Mortal Kombat,” “The Last Of Us” and “Uncharted.” There have also been standalone films for gamers of different generations: from the old-school “Willy’s Wonderland” to the modern “Guns Akimbo” and “Free Guy”.

At the same time, the plot of “Boss Level” shares many conventions with video games — a quick setup and an unrealistic villain with a secret lab right in the middle of the city. But Carnahan doesn’t turn his film into a typical shooter: as the protagonist (Frank Grillo) progresses through “levels,” it turns out he doesn’t really have any goal, only a desire to postpone the inevitable — death and a game “reset.” The hero’s real goal appears when he looks to his past, where his ex-wife (Naomi Watts) and son become the key to everything, helping Grillo’s character advance further through the “levels,” and at some point, even break the “game.” Here’s where the main similarity with “Groundhog Day” appears — the main character’s endlessly repeating day becomes an opportunity to reevaluate his values and life itself. The director reinforces this with a direct reference in a scene where Grillo’s character learns swordsmanship over several “lives” — just like Bill Murray’s character learned to play the piano. Thus, despite all its conventions and action, Carnahan’s film has enough drama and depth to be more than just a comedic action movie focused solely on spectacle.

Warning: Spoilers ahead!

Many directors fill their films with references to other movies, and Carnahan uses them liberally in “Boss Level” — sometimes these references influence the main plot or are even an important part of the story. For example, the aforementioned scene where Grillo’s character, Roy, learns swordsmanship is a nod to “Groundhog Day” and Bill Murray’s piano lessons. And when Roy is walking with his son, who mentions “Taken” with Liam Neeson, it’s not just a reference to a famous action movie and actor (who has worked with Carnahan several times) — both films’ plots are about a tough hero forced to save a loved one from captors.

The film also shares similarities with “Edge of Tomorrow,” as the main character progresses step by step towards the “final boss,” memorizing where to run and when to dodge — just like Tom Cruise’s character, who first tries to survive on the battlefield with aliens, then makes his way to the Omega. But the best and funniest reference, in my opinion, is connected to “Indiana Jones: Raiders of the Lost Ark.” Many remember the scene where Ford’s character faces a swordsman showing off his skills — Indy simply pulls out a gun and shoots the show-off. In “Boss Level,” the same situation occurs, but for the hero, it turns out differently, and the comic effect comes from Roy recalling that very scene from “Indiana Jones.”

“Boss Level” points to classic video games, where the player faces a boss at the final stage. And Carnahan, as a seasoned gamer (he even contributed to the script for the “Uncharted” movie adaptation), plays with a variety of absurd and infuriating situations familiar to every gamer. The clearest example is the victory catchphrase the katana-wielding Asian woman delivers after each of Roy’s deaths. The film is also full of overtly trashy situations: a helicopter with a minigun in the city or a redneck with a harpoon in a pickup — it feels like a live-action GTA.

But Carnahan’s film also contains less obvious video game references, which more experienced gamers will notice. For example, many players know the situation where you’re supposed to do a “stealth mission,” but you’ve run out of patience and just blast through everything — Roy does the same in his early attempts to break into Mel Gibson’s character’s lab. It’s a hilarious moment, even if you don’t get the reference. And at the film’s end, when Roy hijacks a helicopter right after respawning, it’s a true “speedrun” — breaking the rules to beat the game as quickly as possible. Even the middling CGI is totally fitting for a $45 million film, enhancing the video game vibe.

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