For decades, the month of January was regarded as a cinematic graveyard for uninspired genre fare—a cold period reserved for lackluster studio leftovers. However, thanks to the grit of stars like Gerard Butler and Jason Statham, along with a growing critical appreciation for high-octane combat cinema, the month has been rebranded as a premier season for action enthusiasts. This year, with the arrival of Greenland 2: Migration and Shelter in quick succession, director Ric Roman Waugh has effectively claimed the throne of this revitalized window. He is the undisputed king of January movies.
“I’d rather be the king of April or May and enjoy a bit of the sunshine,” Waugh remarks with a laugh, though he graciously accepts the honorific bestowed upon him.
Despite their winter release dates, these back-to-back projects are far from cynical paycheck gigs. “Both of these films are incredibly dear to me,” he says. Greenland 2 allowed him to conclude the apocalyptic survival saga of a family led by Gerard Butler, while Shelter, arriving Jan. 30, originated from an unexpected call from Jason Statham regarding a script the actor was “profoundly passionate about bringing to life.”
Waugh occupies an increasingly rare niche in the action landscape: he is a filmmaker who delivers visceral, muscular thrills without sacrificing moral complexity. His work avoids the trap of empty-calorie spectacle or political grandstanding. From Snitch (which addresses mandatory sentencing laws through a standout performance by Dwayne Johnson) to Shot Caller (a harrowing look at prison subculture and systemic rot), Waugh consistently transcends genre expectations. His stewardship of Butler’s Has Fallen franchise was a welcome infusion of gravitas.
“I aim to produce films that you feel on a visceral level,” Waugh explains. “The narrative has to seize me. It needs to provide an emotional gut-punch and have something substantial to say.” For him, action is never the primary motivator. “If I am not emotionally tethered to the story, how can I expect the audience to be?”
That philosophy is the cornerstone of Shelter, a gritty protector-themed thriller that serves as a perfect showcase for Jason Statham’s cinematic combat skills. Beneath its high-octane exterior lies a more introspective story regarding exile, compromised morals, and the burden of integrity when facing a corrupt system. Statham plays Michael Mason, a former operative who abandoned his shadowy organization, only to be forced back into the fray when he rescues a young girl on a remote Scottish isle.
The film’s themes of resistance against institutional power feel particularly resonant today, as news cycles are dominated by images of state-sanctioned force. While Waugh notes the timing is coincidental, the relevance is not lost on him. “As a storyteller, I’m not attempting to solve global crises,” he says. “My hope is that this film entertains for two hours and then sparks a conversation. I’m not here to push a political agenda; I’m just presenting a subject, warts and all.”
Statham’s stoic, silent-killer persona anchors the film’s poignancy, portraying an agent caught between duty and conscience (who isn’t afraid to use a boat gaff when his allies are threatened). Waugh’s meticulous craftsmanship ensures the suspense remains gripping throughout. Watching Shelter feels like observing a master woodworker shaping something durable and precise from familiar materials. Waugh welcomes the analogy. “I strive to make films that feel handcrafted,” he says. “I love that metaphor.”
When discussing action choreography, Waugh emphasizes authenticity and the importance of limitations—a methodology born from his years as a stunt performer in the 90s. For the island sequences in Shelter, he looked to the classics for inspiration. “What is our version of First Blood?” he asked. While Rambo had the forest, Mason has treacherous cliffs, rigging, and vessels. “He isn’t pulling heavy artillery out of thin air,” Waugh notes. “He has to defend himself with what’s available.”
The result is a definitive January action film that highlights Statham’s physical prowess while adhering to a higher standard of narrative quality. “My ultimate objective,” Waugh concludes, “is to remain original and bold—to live or die by my own creative sword.” It’s a philosophy he inherited from his mentor, Tony Scott, and one he continues to uphold.
Source: Polygon
