Tag Archives: heist

Logan Lucky – Review

17 Sep

Steven Soderbergh has always been something of an inspiration to me. He helped start the indie craze of the 1990s with Sex, Lies, and Videotape, has made some excellent mainstream films like Ocean’s 11, dabbled in the world of surrealism with Schizopolis, and also was the creative force behind one of the most chilling television shows in recent years, The Knick. He’s a film maker that can pretty much tackle anything, even though I’ll be the first to admit he doesn’t have a spotless filmography. After taking time away from the big screen following 2013’s Side Effects, I was excited to see him return with another heist movie, this one being Logan Lucky. This has been a movie I’ve been anticipating for awhile, but I never really got my hopes up for it. After seeing it, I can say that while it’s far from Soderbergh’s best, it’s still a damn fun movie.

Sometimes it seems that certain people have all the luck, and they could really share some if they wanted to. That’s a description that is far from fitting for the Logan family. Jimmy Logan (Channing Tatum) had a promising football career, but an accident killed that dream and left him with a limp. His brother Clyde (Adam Driver) had his fair share of luck after his time in Iraq left him with a prosthetic arm. Still, the two seem to be surviving just fine, that is until Jimmy is fired from his construction job and begins scrambling to find a way to provide for his daughter, who he still keeps in close contact with after his divorce. This prompts Jimmy to dig deep into his plans and reveal a scheme to rob the funds from the Coca-Cola 600 race, and the only time to do it is on Memorial Day, one of the biggest races of the year. In order to do this, the brothers enlist the help of local ne’er do well, Joe Bang (Daniel Craig), who they have to sneak out of jail with just enough time to pull off the heist. With the old Logan bad luck facing them down, the team have to use every ounce of ingenuity to get through this unscathed.

Right off the bat, the best thing about Logan Lucky is its characters. Jimmy and Clyde are such a believable pair of brothers, and part of the reason they work so well is the chemistry and dynamic between Tatum and Driver. Channing Tatum works great as a leading man in this movie, and it’s really cool to see a down to earth, blue collar guy leading a major heist. There’s such a difference between Jimmy Logan and Danny Ocean, but both characters work great. Driver is one of my favorite elements of this movie, and every line he delivers was spot on and hilarious. Daniel Craig also goes against the mold here as the gung ho Joe Bang, and his brothers played by Brian Gleeson and Jack Quaid match his level of slightly unhinged mania. It’s a motley crew of people that make such a fun ensemble cast. I also have to give a lot of credit Farrah Mackenzie, who plays Jimmy’s daughter. She is awesome in this movie and performs way better than your average child actor. I see a bright future there.

While I do really like the blue collar element of this movie, I couldn’t help but thinking this movie was lacking in what I will call the “AHA department.” This is where you watch a heist movie and you think you’re seeing everything, but there’s more going on than meets the eye. That’s a staple of modern heist movies, and it almost feels like you’re witnessing a magic trick. There’s a feeble attempt at this in Logan Lucky, but for the most part what you see is what you get. There’s nothing terribly complicated or interesting about the heist, and that’s something of a disappointment. There’s also a lot of suspension of disbelief that has to happen for this to seem credible. For some people, it’s more than can be tolerated. If someone said they had a hard time buying everything they saw in this movie, I wouldn’t argue. Even I did at times. What saved the movie for me was the level of chemistry between the characters and the depth that they each individually had. You want all of them to succeed in their own ways, and because the character are so likable, it’s possible to look past some of the glaring storytelling flaws.

What Logan Lucky did have plenty of that surprised me is humor. I knew going in that this was going to be a light hearted and fun film, but there are moments that are just downright hilarious. Adam Driver and Daniel Craig are very funny, but the real comedic stars of this one are Jack Quaid and Brian Gleeson. They are just so over the top and relishing the characters they are playing. They had potential to be really annoying, but they were just the right amount of goofy. There’s also a near unrecognizable Seth MacFarlane in here as well, and his scenes were some of the highlights of the entire movie. The writing may be lacking in terms of cleverness in the heist, but it more than makes up for it with the genuine laughs it provided.

Logan Lucky isn’t Soderbergh’s best film and it isn’t the grandest return he could’ve made to the silver screen, but I will say it’s clearly a project he wanted to do. This movie has a lot of heart, a lot of humor, and a slew of great characters all bouncing off of one another. This is pure, lighthearted film making that offers up plenty of feel good energy. The actual heist could have been more creative and the third act feels a little rushed, but this was still a fun film. I doubt it’s going to make anyone’s list of best films of the year, but it’s one that may be worth checking out.

Final Grade: B

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Baby Driver – Review

8 Jul

It seems like I’ve been having great luck with movies recently, and the trend just keeps on going. I’ve been really looking forward to Baby Driver since I first saw the trailer for it. Writer and director Edgar Wright is best known for his Three Flavours Cornetto Trilogy which consists of Shaun of the DeadHot Fuzz, and The World’s End, all starring Simon Pegg and Nick Frost. He was also the director of Simon Pegg’s and Jessica Stevenson’s cult tv show Spaced. This looked like a bit of a departure from what he normally does, but it also looked like it still had that frenetic yet controlled style he employs. Let’s just say Baby Driver takes everything great about Wright’s work and enhances it to whole new levels to create one of the greatest action films you’ll see all year.

Despite getting into an accident as a child, losing both his parents, and suffering from a permanent “hum in the drum” as a result, Baby (Ansel Elgort) is the best escape driver in the entire underworld. Doc (Kevin Spacey), a major thief in the criminal underworld, is lucky to have him on as a permanent member of the team, despite other employees finding his constant state of listening to music and lack of any kind of vocal interaction unnerving. After one particular job goes wrong, Baby finds some comfort in an unassuming waitress named Debora (Lily James). Their relationship seems to be growing fast, but Baby is soon coerced back into the business by Doc and forced onto a crew consisting of his long time partners Buddy (Jon Hamm) and his wifeDarling (Eiza González), but also the sadistic Bats (Jamie Foxx), who threatens everything Baby stands for just for the hell of it. With this job closing in, Baby starts making plans to betray the team and make his escape with Debora, but it won’t be easy to escape the eyes of his brothers in arms and he’ll have to fight them with everything he’s got to truly escape.

Baby Driver is a lot of things. It’s a drama, it’s a dark comedy, it’s a gangster flick, it’s a heist movie, but more than anything else it’s an action film. This movie has more energy than any action movie I’ve seen in a long time and you can tell that everything that Edgar Wright is as an artist and a film maker went in to making this movie as great as it possibly can be. The car chases and various escape sequences are exhilarating, and the fact that the stunt work and various crashes and last ditch escapes were done in camera and not using computer generated effects makes the whole experience all the more worthwhile. The first car chase had me hooked, but the ride was far from being over and it just got more exciting from there. This is a good time to bring the editing up. If this film doesn’t get recognized for its editing at the Oscars, then I really don’t know what I’ll do. Wright puts this entire film to Baby’s various soundtracks, and when I say that every scene moves in time with the music, it’s no exaggeration. The best way to describe this film would be to use the word “precision.” We’ve all had that conversation about what song would work in what kind of scene. Well Edgar Wright and his team took that idea to the limit and created a whole new way to watch a movie.

With movies like Baby Driver that immediately combust with such high energy, it’s usually inevitable that the middle of the movie will slow down to an almost unbearable crawl for characters and other kinds of motivations to be built on. Somehow, someway, Edgar Wright found the perfect formula to expedite this whole process while still making it easy to care about the characters. Jamie Foxx’s character is introduced somewhere around the end of the first act and beginning of the second act which doesn’t slow the movie down even a little bit. In fact, Foxx is so excellent in his performance of Bats that the movie found another burst of energy with his arrival. Time is also given to Ansel Elgort and Lily James and their budding romance. This is where the movie stumbles ever so slightly. The tough guy talk didn’t need to carry over from the crime scenes to the romance scenes. It just didn’t fit very well and the attitude was just a little bit to much in these moments. If it was toned down a little more I think these scenes would have hit the mark a little bit better. When the third act begins, however, all mistakes are forgotten and my eyes were glued to the screen while the action never ceased to let up.

I feel like there’s something of a stigma around action movies that say films in this genre can rarely be called works of art. Much like horror films as of late, there’s been a cool trend of more artistic action films, and Baby Driver falls firmly into that place. Wright and his team know how to make a film look great and sound great while also thrilling audiences with off the wall action sequences and entertaining characters. When the lights came up in the theater, it was almost hard to finds words to properly elucidate the originality and technique of the film I just watched. Edgar Wright isn’t just a good film maker. He’s clearly an excellent one and an auteur in his own right. I’ve been taught by many people that film is a visual art, where the story should be shown more than it should be told. This movie takes it another step and uses music to help tell its story in a way I haven’t seen in a movie before. When music isn’t playing, it felt weird. This was a risky thing to do. It would be very easy to mess up a movie where music is constantly playing, but this one pulled it off with such finesse.

In case I haven’t made my point perfectly clear already, Baby Driver was fantastic and easily is and will remain one of the best movies of the year. It’s action is shot beautifully with excellent stunt work and precision driving, the soundtrack knocks the second Guardians movie into next week, and the editing is some of the best I’ve seen in years. This takes action films somewhere new and unique, even though the story is less than totally unheard of. I can’t say this film is style over substance, because the two work tandem so well. It would be a sin to miss this movie, so get to it as soon as you can.

Final Grade: A+

The Italian Job (1969 & 2003)

4 Aug

There are movies that really succeed at capturing a certain time period and a very specific attitude, and one of the finest examples of this may be the 1969 British crime classic, The Italian Job. It’s cool, funny, and captures the time and place very well while also succeeding as a really entertaining caper flick. After getting a pretty good game for the Playstation 1, the movie got revisited once again in 2003 with a remake by F. Gary Gray. It’s makes me happy to say that both films work very well together and a lot of fun can be had with the original and also the remake.

Of course, we’re going to start with the 1969 classic.

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After being released from a stretch in prison, Charlie Croker (Michael Caine) has a chance to turn his life around and fit in with normal society, but he’s just too good at what he does. With a plan already started by his recently deceased mentor and friend Roger (Rossano Brazzi), Croker starts getting a crew together to go to Turin, Italy to steal $4 million and escape to Geneva. None of this would be possible without a lot of funding, so Croker goes to Mr. Bridger (Noël Coward), who runs his criminal empire from prison, to finance it. With the money and the crew ready, the team heads to Turin to finish the job, but the mafia is on to them and will stop at nothing to keep the $4 million in Italy.

Since the time of its release, The Italian Job has grown into an iconic film filled with imagery that is immediately recognizable. Even before I saw this movie, I’d see a Mini Cooper drive down the street and my mind would go straight to The Italian Job. Maybe I just think about movies too much. Anyway, there’s plenty of great reasons why this film has achieved this status. One of the biggest reasons is the famous chase scene involving the three Mini Coopers making their escape out of Turin. This scene is reason enough to watch this movie, and it ranks as one of the greatest car chases ever filmed. It’s a blast to watch and it’s probably the best example of precision stunt driving in a movie. It almost seems like a scene that’s existed since movies first began, but it had it’s beginnings here in an action movie that never knew the legacy it would create.

While the action sequences are excellent, The Italian Job is also well known for its characters, writing, and soundtrack. The characters are a lot of fun, and Michael Caine and Noël Coward play the two leads with glee. Caine is perfect as the criminal everyone has to love. He’s cool, stylish, and has a temper that is good for a laugh. Some of the funniest scenes in the movie actually are played by Coward, whose Mr. Bridger practically runs the prison that he’s held in. The soundtrack by Quincy Jones is very cool and extremely catchy. I challenge anyone to listen to the theme song and have it not get stuck in your head.

To put it simply, the original version of The Italian Job is a super cool movie and has some of the most iconic and memorable scenes in film history. I honestly don’t think anyone working on this movie knew the legacy this movie would have, but it’s one of those movies that has to be seen to understand why it deserves such a status as a classic.

Let’s move on to 2003 to look at the remake. Normally, I’m not too thrilled about remakes, but the cast and F. Gary Gray in the director’s chair is enough to make someone interested.

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Charlie Croker (Mark Wahlberg) is the head of a gang of very talented thieves (Jason Statham, Mos Def, and Seth Green) who along with Charlie’s mentor, John Bridger (Donal Sutherland) and their inside man Steve (Edward Norton) pull off a major heist involving $34 million of gold and escaping Venice. The job goes off without a hitch, but the gang is quickly double crossed by Steve who steals all the gold and leaves the gang for dead in the Alps. What Steve doesn’t know is that the gang got out of the mountains alive and want their gold back. Charlie enlists the help of Bridger’s daughter, Stella (Charlize Theron), a safe cracker working on the other side of the law, to help them with their heist. This time, it isn’t about the money, it’s about payback.

This movie has a lot going for it and it’s honestly a pretty good movie. F. Gary Gray is a director that really has an idea of what he wants and handles action and suspense very well, which is necessary for a movie like this. In fact, there are elements of this movie that are handled better than in the original. The main improvement is the gang that Charlie’s the head of. In the original, we never really get a chance to know anyone that’s part of the heist other than Michael Caine’s character. In the remake, they’re all established as close friends, have distinct personalities, and all have something important to do during the heists. The actors have great chemistry and there is plenty of room for comedy and drama throughout the movie.

The action scenes are really cool and pay good homage to the original film. Believe it or not, the scene with the Mini Coopers is a little underwhelming compared to the first movie, but there are plenty of other scenes to make up for it. One cool scene happens in the beginning as Statham and Green are making a quick escape through Venetian canals on a speed boat. Any scene with Edward Norton is also very memorable. His villainous character just oozes with smug confidence that just makes you wanna slap that grin off his face.

While the 2003 version of The Italian Job is a really well made and fun movie, I still prefer the fast paced wackiness of the original. Still, this is a remake that works very well for many different reasons. The most important thing is that while it honors the legacy of the original, it stands alone as its own movie.

So there you have it. The legacy of The Italian Job is definitely a strong one, and only a movie that good could create something like it. Any fan of the action/crime genre should definitely give both of these movies a look. They’re really cool and a whole lot of fun.

Triple 9 – Review

15 Mar

In my opinion, John Hillcoat is a film maker who’s movies will get me excited no matter what. I haven’t seen all of his movies, like The Road, but his other films like The Proposition and Lawless are genre bending punches to the throat full of great acting, direction, and performances. He’s very well known for his collaborations with Nick Cave as screenwriter and composer, but with his newest film, Triple 9, Nick Cave is nowhere to be seen. That didn’t change the fact that I was excited for this movie and while the reviews have been very mixed, I thought this was a pretty badass flick.

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Michael Atwood (Chiwetel Ejiofor) and his band of thieves, including two Atlanta police officers Marcus Belmont (Anthony Mackie) and Franco Rodriguez (Clifton Collins, Jr.), are under the strict employ of a Russian mob boss’ wife, Irina (Kate Winslet). After pulling off a major heist for Irina, she still demands that Atwood and his gang pull off a much more complicated one: robbing a highly secured government building of all the files on her husband. In order to do this, it is suggested that the crew initiate a triple 9, which is a code for an officer down, across town so the building will be a free for all. Opportunity knocks when Marcus gets a new partner, Chris Allen (Casey Affleck), a clean cop only out to do the right thing. As the police’s investigation of this gang gets them closer to the truth, Atwood feels rushed to get the job done, which could spell doom for the whole crew.

First off, I have to say that one of the first things that piqued my interest in this movie was the cast. Other than the actors I already named in the summary, this film also boasts the talents of Woody Harrelson, Norman Reedus, Gal Gadot, and Aaron Paul. It’s really an insane cast that all do their jobs really well. Casey Affleck continues to be one of my favorite actors working in movies while Anthony Mackie and Clifton Collins, Jr. showed a level of skill I haven’t seen in them before. Ensemble films like this don’t always work because there isn’t enough personality between the characters to differentiate them from the rest. Luckily, that was not the case with the cast in Triple 9. They were all great to watch.

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Probably the only fault I can give this movie is how complicated it gets, even though this is a movie that doesn’t really need to be complicated. There is such a huge cast of characters and each of them seem to be doing ten different things. It’s ok for some of them to just remain side characters, but each one has a different arc that they’re trying to get through. This still doesn’t really hurt the movie for me, though. While I was trying to figure out what everyone was doing, I was marveling at the urban war zone that Hillcoat and screenwriter Matt Cook have created. It’s a landscape where everyone is your enemy and your friends have something to hide. This made for a very paranoid fueled heist thriller.

When I say that Triple 9 had some of the best action set pieces I’ve seen in a while, I mean that sincerely. Right from the get go there’s a robbery and a car chase on the freeway that should be remembered way down the line. Another great scene is a police raid on an apartment building shot mostly in tracking shots like we are part of the squad. There is a lot of down time in this film, but it never got boring for me, especially since right around the corner there was another action packed scene that was really well shot and paced. That’s an art all unto itself.

Based on all the reviews I’ve been seeing, people either love Triple 9 or they hate it. I don’t know if I can say I loved it, but it was definitely a really cool movie. It does get overly complicated at times, but the strong cast and the intense action sequences and urban environment really pulls it all together very well. After seeing Triple 9, I’m reminded once again why John Hillcoat is one of those film makers that gets me excited about movies. This one is worth a watch.

Contraband – Review

14 Feb

In 2008, an Icelandic film was released titled Reykjavik-Rotterdam and it became something of an international hit in some circles. It was one of the most expensive Icelandic films when it was made and received plenty of awards in its home country. As America likes to do with foreign hits, we made a version of our own in 2012 and called it Contraband. What made this remake unique was that it was directed by Baltasar Kormákur, who starred in the original 2008 film. While this is an interesting directing choice and the cast has a couple of my favorite actors, the end result is nothing too memorable at all, or at least memorable for the wrong reasons.

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Chris Farraday (Mark Wahlberg) was one of the most brilliant smugglers to ever work in the business, but has long since left his life of crime to settle down with his wife, Kate (Kate Beckinsale), and their two kids. While Farrady is content with living a quiet life, her brother Andy (Caleb Landry Jones) is not, and soon gets mixed up with a dangerous criminal named Tim Briggs (Giovanni Ribisi). Briggs is after Andy for $700,000 after he screwed up a job, and is even going so far as to threaten Chris and the rest of his family. This forces Chris to go back to his old ways for one last job to pay back Briggs. With a little help from his best friend Sebastian (Ben Foster), Farraday heads to Panama to bring back $10 million in fake bills, but what Farraday fails to realize is that there is a higher power than Briggs pulling the strings.

So the first thing I have to say about this movie is that it isn’t very original, and that’s ok. I didn’t really go into Contraband expecting it to break new ground or anything. All I wanted was to be entertained for a couple of hours. That being said, this is a pretty entertaining movie with a great deal of suspense and some cool action sequences. But honestly, it isn’t really enough to keep it all afloat. One of my more minor complaints is part of the cast. Giovanni Ribisi and Ben Foster completely own their roles and reminded me why they are two of my favorite actors. Unfortunately, Wahlberg doesn’t really have much of a personality and all and delivers a lot of his lines with the same awkward enthusiasm that he did in The Happening. As for the rest of the cast like Kate Beckinsale, Caleb Landry Jones, Lukas Haas, and even J.K. Simmons, well, they just didn’t really have too much to do.

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I’m not sure if the intended goal of Contraband was for it to be an action movie or a heist movie, because it sort of does both, but not entirely too well. There’s not enough action for this to be called an action movie and there isn’t enough planning or fake outs for this to be a heist movie. Instead it’s this weird mash up of cliches from both genres. There’s one real all out action scene and it hardly even fits into the movie. In fact, the whole middle part where Farraday gets mixed up with some random Panamanian gangster really didn’t need to be in the movie at all, which brings me to my main beef with this mess of a movie.

This movie goes all sorts of places that it has no business going to. For a while the plot goes on pretty normally, and I was into it, but then it redefined the term “whatever can go wrong, will go wrong.” There are far too many plot twists and contrivances that get in the way of a narrative that had all the opportunity in the world to go smoothly and painlessly for close to two hours. Instead I ended up watching a movie that is packed to the brim with stupid twists all for the sake of shocking the audience, instead of being put in to try and tell a good story. The major twist was pretty cool, but all of the other minor ones just frustrated me and made the movie feel completely broken into pieces.

Contraband tries really hard to be a highly intelligent, complex heist thriller that turns out to be nothing more than convoluted and overdone. The only real redeeming qualities this movie has are the performances given by Giovanni Ribisi and Ben Foster. They can really do a lot with shoddy material. Contraband is an unoriginal mess that isn’t really an awful movie, but it’s hardly one I can recommend to anybody.

Faster – Review

24 Nov

I’ve heard quite a few positive things about the 2010 film Faster since the time of its release. While it didn’t do too hot with the critics, a lot of people who’ve seen it have recommended it to me. Honestly, I was just kind of excited to watch a movie where I wouldn’t have to think too hard. I mean, an action film starring Dwayne “The Rock” Johnson couldn’t be anything too thoughtful. What I got instead was a satisfying action film that was equally intelligent with fully developed characters and some heavy thematic depth.

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After serving a ten year prison sentence, Driver (Dwayne Johnson) is finally released with his mind solely focused on getting revenge on the gang that killed his brother. Armed with a pistol, a list of names, and unflinching fury, Driver begins making his way down the list of names, brutally killing anyone on it. This catches the attention of a few people. On one side, there’s Killer (Oliver Jackson-Cohen), a highly skilled but neurotic hit man hired to stop Driver at any cost. On the other side is Cop (Billy Bob Thornton), a detective trying to piece his life back together after struggling with a heroine addiction. As these three parties come closer to colliding, more is figured out about what truly happened to Driver’s brother, revealing a bigger conspiracy than was originally thought.

There’s a lot more going on in this movie than just brainless action, and that’s what really sets Faster up a step above many other films in this genre. Not only is there a revenge story at the core of the movie, but there’s also nice thematic depth, a purpose for everything you see on screen, and a message at the end that perfectly wraps up everything that came before it in a nice package. In one scene when we see Killer beginning to track Driver, he can be seen on the phone with his therapist while on the job. I found that to be a very creative way to add some levels to his character and made me realize that I wasn’t just watching a throwaway movie that I’d forget tomorrow. Mostly all of the characters in the movie have their own idiosyncrasies that make them feel real and help them give meaning to the message that sometimes it is too late to turn your life around.

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With a name like Faster, I also thought this movie was going to be one of those non stop jolts of action that’s kinetic and over the top. The fact is that that’s nowhere near what this movie is actually like. There are plenty of action scenes, but they don’t particularly last very long. Most of them are over within a few seconds since they mostly have to do with Driver getting his revenge on another person on the list. He really only fights one of them, and the rest he pretty much just executes. There’s also a small car chase that is fun, but that kind of stuff isn’t really what this movie is about. What I’m trying to say is that nothing is excessive in this movie. I never felt like I was watching a scene of violence just for the sake of violence. This just goes back to when I said that everything that happens in Faster has a purpose.

While the movie may be a step above average, I can’t really say the same thing for the performances. Billy Bob Thornton, Oliver Jackson-Cohen, and Adewale Akinnuoye-Agbaje stand out in terms of their performances, but everyone else is just so so. Dwayne Johnson kind of just stands there and kills people for most of the movie. There are one or two scenes where he lets his acting rip a little bit, but I think his character is a little underwritten and not very interesting. Carla Gugino and Jennifer Carpenter also show up in the film, but they also don’t give any kind of interesting performance. The only people to really watch for in this movie are Thornton, Jackson-Cohen, Akinnuoye-Agbaje.

Faster may not be the best action movie you or I will ever see, but it was really nice seeing some creativity and thought put into not only the story, but also what the movie was truly about. Not only did this film entertain me, but it actually forced me to think and want to dig deeper at what lied beneath the revenge story on the surface. I was really surprised by how good this movie actually was, and I can’t believe the review turned out this way, but I definitely recommend this one.

Parker – Review

3 Feb

Let’s face it, most action movies starring Jason Statham don’t require too much thought or attention, which is actually one of the primary reasons why a lot of them are so fun. Some of my favorite action films are The Transporter trilogy and the two Crank movies, but recently, Statham has been kind of in a low spot in his career with films like Blitz, the only moderately entertaining Safe, and his 2013 film Parker. I really wasn’t thinking anything much of it before I watched it, but as I was watching it I realized my suspicions were almost correct. This film is nothing special, but for certain reasons it is a little bit better than what Jason Statham has been in recently.

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Parker (Jason Statham) is professional thief who operates with his own strict moral code, so when he is hired to lead a job with a bunch of criminals who firmly believe that they can do anything to get the job done, personalities clash in a very bad way. After being left for dead by a member of the crew, Melander (Michael Chiklis), Parker starts a one man quest for revenge that takes him to the sunny and comfortable land of Palm Beach, Florida. While down there, Parker takes on the false identity of an oil magnate from Texas and enlists the help of struggling real estate agent Leslie Rogers (Jennifer Lopez) to covertly track down Melander, uncover his grand plan for his next heist, and ultimately get his revenge and his money.

Here’s the gospel truth: this movie is one of the most nothing special movies I may have ever seen, although I will say that there were points where it felt like it was trying. The biggest problem with Parker is that it’s just way too generic. Going back to The Transporter and Crank, those were Jason Statham movies that had material, scenes, and style that made them memorable. Parker doesn’t. Even Parker as a character is made generic. A criminal with a strict moral code that convinces the audience he’s a good guy? Doesn’t that sound like every other Jason Statham movie ever? I know that these movies are supposed to just be entertainment, but this gets old after a while. It all just feels so tired if there’s nothing in the movie that spices it up.

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Let me give this movie some credit though. There were parts in it that were really entertaining. Hearing Jason Statham try his best to go full Southern is hilarious and Michael Chiklis really hams it up as the villainous Melander. Even Jennifer Lopez brings some nice moments of drama and comedic relief, even though her character is pretty much useless. The best parts of the movie, and I say this without any shock, are the action sequences. One brutal scene in particular where Parker fights an assassin in a hotel suite was particularly satisfying and pretty much raised the standards of the film from being hopelessly bland to mediocre. Unfortunately, there are only a few other scenes like this in the movie, and never do they reach this level of intensity. This leads me into what may be my biggest complaint of the movie.

The structure of this movie is just too weird. It starts as a heist movie, turns into a revenge story, then some weird con/buddy movie, and then revenge again. Like, what is this movie supposed to even be? Not to mention there’s a mysterious Chicago mafia boss that is talked about for the entire movie and is only seen for almost thirty seconds at the very end of the movie. It felt like they had this big scene or twist with this guy planned and it just never came to be. I was really enjoying the movie for what it was at the beginning, but once Parker gets to Palm Springs, everything just gets so distracted and misused, which makes me wonder this movie would have been better if it was just 15 or 20 minutes shorter.

Listen, I don’t want it to seem like I hated Parker. It’s not that I hated it, but more that I thought it was just nothing too special. If you’re a Jason Statham fan, like myself, I’m sure you’ll be able to find something to really enjoy with this movie, or at least kill a few hours. It’s time well spent if you’re enjoying yourself. I will say, however, that Statham has been in much better movies than this one. Compared to some of his recent stinkers, it’s a step above them and has its redeeming qualities. If you aren’t a fan of Statham’s other movies, you’re gonna hate this one. It’s ultimately a mediocre entry into his filmography.