Clooney’s nameless character is summoned by Margaret (Amy Ryan), the blood-soaked, high-powered prosecutor who finds herself trapped in a luxury hotel room with a much younger and very dead sexual affair, referred to in the film as Kid (Austin Abrams). He accidentally fell through a glass pole while still wearing his tights and socks. The boy looks 14 but is actually 23. “He’s not a prostitute!” Margaret exclaims repeatedly, much to everyone else’s disbelief.

Pitt’s nameless fixer is summoned by Pam (the voice of Frances McDormand). She is the owner of the hotel where the film’s opening act plays. Pam is so paranoid that she has installed cameras in her luxury suites to ensure any potential scandals are dealt with quickly. Her booming, disembodied voice echoes through the room, explaining why the fixers must work together: Pitt is their employee and Clooney was caught on camera, the death knell for a man working anonymously.

Writer-director Jon Watts fills the first 20 minutes or so with process examples, which, as you know, I enjoy watching. We see Clooney cleaning up the crime scene and wrapping the child’s body using a hotel luggage cart. Pitt’s backseat driver makes snide comments about his rival’s methods. “Did you check if he was dead?” he asks.

It turns out that’s a good question. We know Clooney checked his pulse, but that doesn’t explain how Kid suddenly comes back to life while being driven to his final destination. Now our heroes have a problem that’s even bigger than the four bricks of heroin they found in the kid’s bag at the hotel.

The child’s resurrection leads to an extensive chase, on foot and by car, through the streets, over roofs and building beams. During this sequence, Kid wears his underpants and socks. The action ends with a slow-motion close-up of his lower body sliding over a speeding car. If you’ve ever wanted to see what a Fruit of the Loom commercial would look like if Michael Bay directed it, this is your chance.

The convoluted plot of “Wolfs” is irrelevant. It’s the MacGuffin that lets its stars pass by with their effortless charm. Pitt and Clooney make it look easy. They’re joined by Abrams, who brings an unpleasant sweetness to his goofy nerd character that offsets all the trouble he causes.

When Kid talks about how he met Margaret and how excited he was to finally get some attention from the opposite sex, you almost want to hug the poor loser. (He jumped on the bed in excitement before going through the glass bar.) None of the fixers can put a bullet in his head after hearing this story.

“Wolfs” has enough action to keep us from thinking about how silly it is. As an added bonus, there’s more than a hint of Butch Cassidy and the Sundance Kid here, especially at the end. This final scene might have been more impactful if a sequel hadn’t been announced, definitely answering a question that the film wisely kept vague.

Watts directed the last three live-action Spider-Man films. But “Wolfs” reminded me of his much smaller 2015 film “Cop Car,” which also boasted the star power of its leading man, Kevin Bacon, creating an entertaining genre exercise that failed to capitalize on its appeal. These two films would make a great double feature on a rainy Sunday afternoon.

★★★

WOLVES

Written and directed by Jon Watts. Starring George Clooney, Brad Pitt, Austin Abrams, Amy Ryan and Frances McDormand. From Friday on AppleTV+. 108 mins Rated R (fixer’s duties include berating, killing and grooming half-naked nerds)

Odie Henderson is the film critic for the Boston Globe.