Statham hits it big with 'The Bank Job'
By Bruce R. Miller Journal staff writer | Posted: Sunday, July 13, 2008
Not too long ago Jason Statham couldn't get acting gigs. Now, directors look for Jason Statham types.
Perhaps that's because he can make even the weakest films exciting.
Able to kick and act at the same time, he's a step above the Chuck Norris/Jet Li/Jackie Chan crowd. Heck, he even makes Sylvester Stallone look punk.
In "The Bank Job," we discover his real worth.
Based on a real '60s case, it follows a group of low-level British thieves as they plot to break into a bank's safe deposit boxes and net a fortune. They're tipped off by a tall Diana Rigg-like looker (Saffron Burrows) who has her own reasons to get to the goods. Once there, they realize there's more than money and jewels at stake.
A stash of photographs -- some featuring Princess Margaret -- could be quite incriminating for the folks involved. When officials catch wind of the crime, they move quickly and try to squeeze everyone involved.
Statham, of course, leads the crooks. He's a slick operator who knows how to play the players. He plots their escape; government officials hope he won't sully their reputations.
Director Roger Donaldson gives the story such an old-school look you half expect Michael Caine to waltz through. He doesn't, but a lineup of familiar British faces appears.
Better yet, Statham gets a chance to show his own acting acumen. He's not just a martial arts master. He's also an excellent emoter. When he tries to explain the situation to his wife, he's clearly a man at odds. Put Statham in play with Bruce Willis and it wouldn't even be a contest. Statham would win.
Donaldson's pacing is good, too. While "Bank Job" isn't as frenetic as the "Bourne" films, it does have a strong sense of purpose. One action leads to dozens of different reactions. The characters play each other like masters of chess. Statham's the king, Burrows is the queen and everyone else is a pawn.
The film looks wonderful. The costumes are just right; the locations practically scream "Alfie."
The real joy, though, is seeing Statham come into his own. After years as a niche performer, he's finally given a leading man role that demands -- and gets -- his best.
He's the next big thing. And "The Bank Job" is his credit card.
Also: 'Shutter'
Old WB stars don't die. They just remake bad Japanese horror films.
Sarah Michelle Gellar held her own in "The Grudge."
Now, Joshua Jackson moves into "Shutter," a so-so shocker set in, where else? Japan.
He's a hotshot photographer who gets a fashion assignment. To piggyback on his recent marriage, he brings his wife along for a mini-honeymoon. Unfortunately, their photos have a weird band of light in them. Worse yet? His fashion photos do, too.
Convinced the "ghosting" has something to do with his equipment, Jackson presses on while his wife (Rachael Taylor) shudders.
During all that down time in the morning, she learns that extraneous images on a photograph could be spirits trying to deliver a message.
But what?
Her new husband's best friends (John Hensley and David Denman) seem suspect, particularly when they start talking about their shared past. The three were, um, active during their days in Japan and enjoyed the company of one specific woman.
The woman looks oddly like one the new bride hit on their drive into Japan. But no body was ever found. So? So?
Director Masayuki Ochiai has plenty of those creepy staring people "Ring" fans have grown to love but a real heavy hand with storytelling. "Shutter" lacks initial focus, then snaps anything in its field of vision.
It's like making reprints from a negative that's scratched and faint. Something appears. But it's not what you were expecting.
Also this week:
TV: "The Best of MANanswers," season one; "Birds of Prey," complete series; "Dallas," season nine; "Reno 911," season five; "Roxy Hunter and the Secret of the Shaman Family"; "Saving Grace," season one
Film: "Asylum"; "College Road Trip"; "Guardians"; "Insanitarium"; "Meet Bill"; "Penelope"; "Step Up 2"; "The Year My Parents Went on Vacation"
Perhaps that's because he can make even the weakest films exciting.
Able to kick and act at the same time, he's a step above the Chuck Norris/Jet Li/Jackie Chan crowd. Heck, he even makes Sylvester Stallone look punk.
In "The Bank Job," we discover his real worth.
Based on a real '60s case, it follows a group of low-level British thieves as they plot to break into a bank's safe deposit boxes and net a fortune. They're tipped off by a tall Diana Rigg-like looker (Saffron Burrows) who has her own reasons to get to the goods. Once there, they realize there's more than money and jewels at stake.
A stash of photographs -- some featuring Princess Margaret -- could be quite incriminating for the folks involved. When officials catch wind of the crime, they move quickly and try to squeeze everyone involved.
Statham, of course, leads the crooks. He's a slick operator who knows how to play the players. He plots their escape; government officials hope he won't sully their reputations.
Director Roger Donaldson gives the story such an old-school look you half expect Michael Caine to waltz through. He doesn't, but a lineup of familiar British faces appears.
Better yet, Statham gets a chance to show his own acting acumen. He's not just a martial arts master. He's also an excellent emoter. When he tries to explain the situation to his wife, he's clearly a man at odds. Put Statham in play with Bruce Willis and it wouldn't even be a contest. Statham would win.
Donaldson's pacing is good, too. While "Bank Job" isn't as frenetic as the "Bourne" films, it does have a strong sense of purpose. One action leads to dozens of different reactions. The characters play each other like masters of chess. Statham's the king, Burrows is the queen and everyone else is a pawn.
The film looks wonderful. The costumes are just right; the locations practically scream "Alfie."
The real joy, though, is seeing Statham come into his own. After years as a niche performer, he's finally given a leading man role that demands -- and gets -- his best.
He's the next big thing. And "The Bank Job" is his credit card.
Also: 'Shutter'
Old WB stars don't die. They just remake bad Japanese horror films.
Sarah Michelle Gellar held her own in "The Grudge."
Now, Joshua Jackson moves into "Shutter," a so-so shocker set in, where else? Japan.
He's a hotshot photographer who gets a fashion assignment. To piggyback on his recent marriage, he brings his wife along for a mini-honeymoon. Unfortunately, their photos have a weird band of light in them. Worse yet? His fashion photos do, too.
Convinced the "ghosting" has something to do with his equipment, Jackson presses on while his wife (Rachael Taylor) shudders.
During all that down time in the morning, she learns that extraneous images on a photograph could be spirits trying to deliver a message.
But what?
Her new husband's best friends (John Hensley and David Denman) seem suspect, particularly when they start talking about their shared past. The three were, um, active during their days in Japan and enjoyed the company of one specific woman.
The woman looks oddly like one the new bride hit on their drive into Japan. But no body was ever found. So? So?
Director Masayuki Ochiai has plenty of those creepy staring people "Ring" fans have grown to love but a real heavy hand with storytelling. "Shutter" lacks initial focus, then snaps anything in its field of vision.
It's like making reprints from a negative that's scratched and faint. Something appears. But it's not what you were expecting.
Also this week:
TV: "The Best of MANanswers," season one; "Birds of Prey," complete series; "Dallas," season nine; "Reno 911," season five; "Roxy Hunter and the Secret of the Shaman Family"; "Saving Grace," season one
Film: "Asylum"; "College Road Trip"; "Guardians"; "Insanitarium"; "Meet Bill"; "Penelope"; "Step Up 2"; "The Year My Parents Went on Vacation"
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