Jason Statham returns as Arthur Bishop, his character from the 2011 Simon West film THE MECHANIC. He is not the type of mechanic who might help out his driving characters in THE TRANSPORTER, THE ITALIAN JOB, DEATH RACE and FURIOUS 7. He’s the type that is a euphemism for an assassin-for-hire, as seen in the original THE MECHANIC starring Charles Bronson and Jan Michael Vincent.
Having faked his death at the end of the first one, we find Bishop living an appealing lifestyle in Rio de Janeiro. (Do the people of Rio ever get tired of Hollywood helicopters swooping around that Jesus statue?) He’s now known as Otto Santos and he lives on a nice houseboat where he sits and enjoys his espresso and reconstituted vinyl collection.
But one day a woman comes up to him, knows who he is, says her employer wants him to kill three people. Arthur “Otto ‘The Mechanic’ Santos” Bishop is no chump, though, so he fights her and her henchmen, escapes in spectacular (though blatantly green-screeny) fashion, and gets ready for a fight. There’s almost a running joke about how many stashes he has around. When he self destructs his boat he goes right to a shipping container with guns and passports. When he resurfaces at his old hut on a picturesque beach in Thailand there’s another stash under the floorboards. I bet if you dropped him off at any random spot in the North Pole it would turn out he hid some guns under the ice there years ago. (read the rest of this shit…)
Note: as usual, I recommend reading this only after you’ve seen the movie.
How the hell do you follow a movie with a classic freeway cars vs. tank battle and a legendary 27.86 mile cars vs. planes gun/grappling hook/wrestling fight? Well, we already had a good idea from the trailers: with cars that skydive and jump from skyscraper to skyscraper and with Jason Statham. The day after my first viewing I feel like FURIOUS SEVEN is probly not as good as FAST FIVE or FURIOUS 6, but it’s in the same range at least, which is a feat. And due to real life this silly fictional world turns very emotional at the end. I suspect that despite all the effort put into automotive insanity this will primarily be remembered as the one that says goodbye to Paul Walker.
It’s a blessing because really, when has a tragically passed-on star been able to have such a meta farewell in a movie? The character of Brian O’Conner gets to drive off into the sunset and the public gets to share in the send off as a narrating Vin Diesel/Dominic Torretto pay tribute simultaneously in and out of character. Heath Ledger might’ve had a better last big performance, but he was left hanging on the side of a building.
(It’s a little unclear what it means on the movie level, though. Are Brian and Mia and the kids driving off to be far away from Dom so they can be sure to stay out of trouble? Or is Dom just not planning to visit his own sister, best friend, niece and nephew if he’s not shooting guns anymore? Maybe he’s just assuming that now that he’s a dad Brian’s not gonna hang out anymore?) (read the rest of this shit…)
“I can take care of things. That’s all you need to know.”
In WILD CARD, Jason Statham plays Nick Wild (seriously), a legendary special ops badass who now works as an all purpose “security consultant” for hire. That’s not going well for him, though. He shares his office with a lawyer (Jason Alexander from THE BURNING) on the strip mall outskirts of Vegas, most of his friends seem to be prostitutes, hotel maids, gangsters or casino employees, and he gets such glamourous gigs as getting fake beat up by Vinnie from Doogie Howser to impress a Sofia Vergara. It’s hard to bask in your own greatness when you’re such a fucking loser. So in that sense this is less like THE TRANSPORTER and more like REDEMPTION (where he starts out as a homeless crackhead).
He gets a couple “Just how badass is he?” speeches, but one of them is by himself, and ends with “And I lie alot.” As cool as this guy is – his name is Nick Wild, for God’s sake! – everybody knows he’s a fuckup, and this is underlined by casual comments about the mediocre value of his life. When a friend wants him to get involved in something dangerous and he asks “What if they kill me?” she says “I’ll be miserable for days.” Not years, not months, days. Later a gangster wants to hear his side of the story before killing him just because if he was innocent of what he was accused of “I would feel dreadful.”
If some of this sounds familiar that’s because it’s a remake of HEAT. Not the one by Michael Mann, the 1986 one with Burt Reynolds and based on the book by William Goldman. It counts as a remake though because they re-used Goldman’s old script with just a few tweaks, like Van Sant did with PSYCHO. (In fact, Anne Heche is even in this. But not Vince Vaughn) They changed his name from Nick Escalante and added references to his Britishness. He says “mum” in one part. And I noticed big changes in the action parts (I missed a trick Burt did to light a guy on fire, and a scene where he torments a guy in the dark). But mostly, from what I could remember, it’s scene-for-scene the same. (read the rest of this shit…)
1. I think we can all agree, !!!!!!!!!!!!!!!!!!!!!
2. I cannot find Lucas Black anywhere in this trailer
3. There is a little bit of Tony Jaa though (he’s in that bus they attack)
4. The careful editing of dialogue over Paul Walker shots is moving without being tacky, in my opinion
5. I don’t know who that lady is but I like how she seems to be a normal person not familiar with the rules of the Furiousverse so she just flops onto the hood of the car and screams
THE EXPENDABLES 3 is another Expendables movie, like any other. It’s got a cast that indicates it should be the ultimate action movie, but ends up being penultimate at best. It’s a weird mix of satisfying appearance of favorite faces and tropes and disappointing execution of these elements. I call that feeling satisppointment, or expendablation. Just like the others I enjoyed it, but with a nagging feeling that this should be something actually great.
But the first stretch had me thinking it might blow the other ones out of the water. It opens mid-mission as our old Expendapals Barney (Sylvester Stallone), Lee Christmas (Jason Statham), Gunner (Dolph Lundgren) and Toll Road (Randy Couture) are in a chopper chasing after a Russian prison transfer train to bust out an original team member who’s been locked up for 8 years. That prisoner is none other than Wesley The Daywalker Snipes as “Doctor Death,” and it’s an excellent welcome home party for the man. He’s got a crazy beard and hair and a spaced out look in his eye, and instead of going with the rescue party he runs across the train, does a slide and a bunch of acrobatics, kills a bunch of his captors and causes the train to crash into the bastard in charge. (read the rest of this shit…)
Wait a minute, there’s a movie that’s Jet Li vs. Jason Statham that I never bothered to watch? How can this happen? Well, I remember I was excited for it when it came out but then everybody said it sucked, and I’ve seen enough generic movies of this type (Statham vs. Snipes in CHAOS) to fear sitting through another boring, lifeless slog that wastes my favorite action stars. Fortunately I think I waited just the right amount of time because while I’d agree it isn’t a proper use of Jet Li that’s not really a crushing surprise anymore, and WAR is more watchable, more of a real movie than what I’d always pictured. (read the rest of this shit…)
HOMEFRONT is a Jason Statham vehicle with an interesting pedigree: screenplay by Sylvester Stallone (Academy Award nominated writer of ROCKY), meth manufacturing villain played by James Franco (Academy Award nominated lead for 127 HOURS), James Franco’s girlfriend played by Winona Ryder (Academy Award nominee for LITTLE WOMEN and THE AGE OF INNOCENCE). Unfortunately the weak link is director Gary Fleder (CableACE Award winner for an episode of Tales From the Crypt), who’s just the guy who did KISS THE GIRLS and RUNAWAY JURY and stuff like that. He’s not terrible but also not the type of strong director that could shoot a bullseye with a simple story like this.
This is the second movie in a row where Statham starts out wearing a long hair wig. This time it’s because he’s a DEA agent undercover in a biker gang. He busts the kingpin Danny T (Chuck Zito), whose son gets shot to death by other cops. Danny and his gang want to kill the shit out of him for this so he has to shave his hair. Also he either goes into witness protection or just retires and moves to a small town somewhere in Louisiana. (read the rest of this shit…)
REDEMPTION, huh? ‘Bout time somebody made a movie about redemption.
Okay, this might tie WAR for “most generic Jason Statham title” (except in the UK, where it has the more-distinctive-for-a-Jason-Statham-movie title HUMMINGBIRD), but the movie itself is something else. Written and directed by Steven Knight (the guy that wrote EASTERN PROMISES), it’s in the BLITZ category of serious-minded British crime dramas where Statham gets to beat the shit out of a couple people without it really being an action movie. They hired him more for acting than action on this one.
Stath plays Joey, a.k.a. Crazy Joe, a homeless crackhead who was an elite commando in Afghanistan until he lost it, committed war crimes and went AWOL. You think that’s different from most Statham characters, wait ’til you see his long hair! (read the rest of this shit…)
Well, yep. I’m afraid we saw this coming. Academy Award nominated director with unfortunately appropriate name Taylor Hackford’s adaptation of Richard Stark’s Parker book Flashfire is not very good.
Jason Statham plays Parker, the cold-hearted career criminal, professional problem solver and single-minded seeker of money. Or he’s supposed to be that character, anyway. He’s involved in a robbery but the other guys on the team want to use the loot as seed money for another heist, and he doesn’t want to. They shoot him and dump him in the water, but he survives and comes looking for them, planning to steal the proceeds from this other heist.
Michael Chiklis is Melander, the leader of the other heisters, who we don’t really get to know much about. Clifton Collins, Jr. is also on the crew, but I couldn’t name a single character trait for him other than Clifton Collins, Jr. looks a little older than last time I saw him in a movie. Parker wears a cowboy hat and pretends to be a Texas oilman so that he can look at mansions in Palm Beach and figure out where Melander and friends are hiding out. Jennifer Lopez plays Leslie, the real estate agent who shows him around, figures out that he’s not really Texan, and pushes her way into his scheme. (read the rest of this shit…)
WHAT IS THIS BULLSHIT?! I mean, it looks like it could be a pretty accurate adaptation of Flashfire, and an enjoyable Jason Statham vehicle. But why would you call it “Parker” and then hang the trailer on this “these are my rules” hook that is the opposite of the character and the reason he has lasted and the reason you bought the rights to make a movie out of him? What kind of man is willing to do that, knowing he has to look himself in the mirror again at some point before he dies? Wouldn’t it be easier, and better for all involved, and for society, to just not do that? Obviously you don’t have rules or you wouldn’t have fucking made Parker say some shit like that!
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Jason Statham returns as Arthur Bishop, his character from the 2011 Simon West film THE MECHANIC. He is not the type of mechanic who might help out his driving characters in THE TRANSPORTER, THE ITALIAN JOB, DEATH RACE and FURIOUS 7. He’s the type that is a euphemism for an assassin-for-hire, as seen in the original THE MECHANIC starring Charles Bronson and Jan Michael Vincent.
Note: as usual, I recommend reading this only after you’ve seen the movie.
“I can take care of things. That’s all you need to know.”
THE EXPENDABLES 3 is another Expendables movie, like any other. It’s got a cast that indicates it should be the ultimate action movie, but ends up being penultimate at best. It’s a weird mix of satisfying appearance of favorite faces and tropes and disappointing execution of these elements. I call that feeling satisppointment, or expendablation. Just like the others I enjoyed it, but with a nagging feeling that this should be something actually great.
Wait a minute, there’s a movie that’s Jet Li vs. Jason Statham that I never bothered to watch? How can this happen? Well, I remember I was excited for it when it came out but then everybody said it sucked, and I’ve seen enough generic movies of this type (Statham vs. Snipes in 
HOMEFRONT is a Jason Statham vehicle with an interesting pedigree: screenplay by Sylvester Stallone (Academy Award nominated writer of ROCKY), meth manufacturing villain played by James Franco (Academy Award nominated lead for 127 HOURS), James Franco’s girlfriend played by Winona Ryder (Academy Award nominee for LITTLE WOMEN and THE AGE OF INNOCENCE). Unfortunately the weak link is director Gary Fleder (CableACE Award winner for an episode of Tales From the Crypt), who’s just the guy who did KISS THE GIRLS and RUNAWAY JURY and stuff like that. He’s not terrible but also not the type of strong director that could shoot a bullseye with a simple story like this.
REDEMPTION, huh? ‘Bout time somebody made a movie about redemption.
Well, yep. I’m afraid we saw this coming. Academy Award nominated director with unfortunately appropriate name Taylor Hackford’s adaptation of Richard Stark’s Parker book Flashfire is not very good.
