Mark Wahlberg takes on the role of Dan Morgan, an ordinary family man with a secret past as a hired assassin, in “The Family Plan.” The film attempts to blend espionage with suburban family tropes, reminiscent of classics like “True Lies” and “Nobody.” However, it falls short of capturing the charm and humor that make this subgenre enjoyable.
Dan Morgan works at a car dealership, cherishes family routines, and schedules sex with his wife Jessica (played by Michelle Monaghan). Their lives take an unexpected turn when it’s revealed that Dan used to be a hired assassin working for a shadowy figure named McCaffrey (Ciaran Hinds). As Dan’s identity is exposed, he calls on an old comrade, Augie (Said Taghmaoui), to help the Morgans start new lives.
The movie unfolds as a road trip from Buffalo to Vegas, with Dan intending to reveal the truth to Jessica and solve his family problems along the way. However, “The Family Plan” struggles to find a balance between action and comedy, relying on implausible situations for humor without grounding the characters in relatable behavior.
The first major action sequence involves a fight in a grocery store, where Dan has to fend off an assassin while carrying a baby in a carrier strapped to his chest. The film continually leans into absurd scenarios, lacking the foundation of recognizable human behavior that makes the best in this subgenre enjoyable.
Despite the capable performances of Wahlberg and Monaghan, the script fails to provide enough substance for the cast to work with. The road trip, filled with grown adults singing along to “Ice, Ice Baby” and shots of the quirky baby, lacks genuine humor and character development.
The plot takes the Morgans from New York to Nevada, with numerous encounters with assassins that everyone but the baby seems to miss. Upon reaching Vegas, the film takes a violent turn, including gunfire in a crowded casino and a death involving a dirty diaper. These shocking moments further highlight the film’s lack of direction and inability to settle on a coherent tone.
In the end, “The Family Plan” leaves audiences questioning what type of movie it intended to be—a family comedy, a spy thriller, or an action film. While the cast delivers fine performances, they are hindered by a script that fails to provide a compelling narrative or engaging humor. The result is a misguided attempt at blending two contrasting genres that ultimately falls flat.