India, Oct. 4 -- Writer-director Shane Black is known for turning the action-comedy on its head, from the classic Lethal Weapon (1987) to 2016's The Nice Guys. His latest outing Play Dirty, now streaming on Amazon, marks his return to the genre after almost a decade. This time, the filmmaker takes on the task of adapting novelist Donald E Westlake's Parker series for the screen. A robbery gone wrong sets the stage for this throwback comedy: career criminal Parker (Mark Wahlberg) is betrayed by new recruit Zen (Roza Salazar), who wipes out his crew and makes off with the loot. She later ropes him into a bigger scheme involving a priceless artifact, a corrupt dictator, and enough money to topple entire nations. This leads to a series of double-crosses, mob entanglements, and an explosive New Year's Eve showdown. Shane still knows how to craft a manic blend of wisecracks and mayhem. The opening robbery sets a chaotic, gleefully destructive tone for the rest of the film. Rosa as Zen is more than just a sidekick - her fire and physicality give the film much-needed urgency. LaKeith Stanfield, meanwhile, is effortlessly magnetic, turning scene-stealer every time he appears. The supporting cast injects levity, especially with Keegan-Michael Key and Claire Lovering's bickering dynamic. A handful of set pieces deliver the sort of giddy, over-the-top spectacle that Shane does best. And unlike many of its contemporaries, the filmmaker's snappy dialogue gives this action comedy has a distinct voice. At nearly two hours, Play Dirty is overstuffed. The endless betrayals and side plots dilute the central heist, making the film feel more convoluted than clever. The bigger issue, though, is Mark Wahlberg. He looks the part, but his Parker never feels dangerous or charismatic enough. The imbalance is glaring, especially when he is placed beside LaKeith's easy brilliance. The Christmas backdrop and mob subplots feel recycled, and the film lacks polish - some action sequences are undone by flat visuals and distracting CGI. Play Dirty is uneven; it might sometimes crackle with energy but mostly get dragged under its own weight. It's more stylish than most streaming fare, but never reaches the highs of Shane's earlier triumphs. While Roza and LaKeith give the film just enough personality, Mark doesn't quite nail the sardonic edge the role demands, never fully convincing you that Parker deserves another cinematic run....