Film Review: Muzzle: City of Wolves 神探忠犬2：狼之城 (2025) - USA
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Reviewed by Andrew Chan (Film Critic Circle of Australia)
I rated it 5/10
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A Doggedly Loyal Sequel That Barks Louder Than It Bite - “Muzzle: City of Wolves" is the cinematic equivalent of a dependable, slightly worn work boot. It gets the job done, it’s built for a specific purpose, and you know exactly what you’re getting before you lace it up. This sequel to the surprisingly sturdy "Muzzle" offers another helping of its particular brand of rain-slicked, K-9 assisted vengeance, delivered with committed gruffness but little in the way of fresh meat.
Director John Stalberg Jr. clearly understands the assignment: maintain the somber, hard-boiled tone, keep the action gritty, and center it all on Jake Rosser, a man whose soul seems perpetually soaked in bourbon and regret. Reprising the role, Aaron Eckhart remains the film's undeniable anchor and strongest asset. Eckhart possesses that rare quality for an action lead: he looks genuinely weathered, capable of immense violence yet radiating a profound, weary sadness. His performance is a masterclass in physical commitment and understated emotional turmoil. Where the film finds its few moments of genuine heart, however, is not in Rosser’s interactions with other humans, but with his new K-9 partner, Argos. Their bond is the film's core, and Eckhart sells it utterly. The tactical sequences involving Argos remain a highlight – brutal, efficient, and showcasing a level of realism in canine combat that continues to set this series apart from standard cop fare. Watching Rosser and Argos work is visceral and compelling.
Alas, the leash holding the narrative taut snaps far too early. The plot – a hunt for a ruthless gang leader entangled with predictably corrupt city officials – feels dredged from the depths of a 1990s direct-to-video bargain bin. It’s a reheated stew of vengeance-driven-lawman tropes, lacking even a whiff of originality. The dialogue often clunks with the weight of exposition or heavy-handed pronouncements, and the titular "City of Wolves" metaphor isn’t so much explored as it is bludgeoned into the audience with the subtlety of a sledgehammer. We get it. It's a jungle. People are predators. Move on.
The pacing, too, develops a limp. After a genuinely visceral opening that promises kinetic energy, the film settles into a sluggish, predictable investigative middle act. The tension dissipates like steam off a wet pavement as Rosser follows leads we’ve seen countless times before. The villains, unfortunately, are little more than cardboard cutouts snarling on cue. They lack depth, clear motivation beyond cartoonish malevolence, and any real sense of threat beyond their immediate firepower. Consequently, when the inevitable, extended final shootout arrives, the stakes feel curiously low. The choreography is competent, the gunfire loud, but the emotional investment has long since drained away.
Stalberg Jr. retains a good eye for his grimy, perpetually rain-soaked cityscape. The film looks better than its budget might suggest, draped in shadows and neon reflections that create a suitably oppressive atmosphere. Technically, it’s proficient.
"Muzzle: City of Wolves" is, ultimately, a perfectly serviceable but deeply unambitious sequel. It delivers the core elements fans of the first film or K-9 action enthusiasts might crave: Eckhart’s compelling presence, the unique brutality of the dog-handler combat, and that specific gritty vibe. Yet, it plays everything else far too safe. It trots obediently down a well-worn path, failing to justify its existence as a necessary new chapter in Jake Rosser’s story. It’s the kind of film you watch on a lazy Sunday, appreciating the craft in the action and Eckhart’s performance, but forgetting entirely by Monday morning. It barks with all the right sounds, but its bite lacks any real surprise or lasting impact. Rent it for the dog, stay for Eckhart, but don’t expect revelations. (Neo, 2025)