Worse still, negligibly composed individual shots are unintelligibly juxtaposed, like when a dashboard close-up of Frank behind the wheel is matched up with a curbside view of Frank’s car as seen over the shoulder of an unidentified patron of a sidewalk café. Phony-looking computer-generated sports and cop cars ineffectively double for real vehicles during crashes and sharp turns. even inadvertently kick-starts the plot when lady-of-the-night Anna (Loan Chabanol) kidnaps him so she can blackmail Frank into taking down Karasov. collects an inadequate pension!) a sadly unfunny source of comic relief (old people have sex too!) and a constant companion (Frank and his dad drink wine and talk about girls!). is living proof of Frank’s working-class background (Frank Sr. He’s inexplicably treated like the Swiss army knife of partners-in-crime: Frank Sr. (Ray Stevenson).įrank Sr.’s prominent role is the plot’s most baffling aspect. Flash-forward to 2010: Ex-military man Frank bonds with hard-drinking womanizer dad Frank Sr. The setup is promising: Professional getaway driver Frank ( Game of Thrones‘ Ed Skrein) and a gang of blond-wig-and-black-lingerie-clad prostitutes square off with a pack of malicious Russian pimps.īut director Camille Delamarre ( Brick Mansions) and co-writers Adam Cooper, Bill Collage, and Luc Besson overdevelop all the wrong aspects of the narrative - it’s overstuffed, undercooked, and needlessly complicated.Ĭase in point: An introductory flashback - ruthless crime mogul Karasov (Radivoje Bukvic) declares himself the king of prostitution along the entire French Riviera (!!!) after he assassinates a pack of West African human traffickers - randomly takes place in 1995. Refueled, a reboot of the adequate 2002 Jason Statham action-adventure, is a klutzy amalgamation of campy spy-spoof Our Man Flint and dopey Burt Reynolds vehicle Gator. "What do you mean, 'Nobody saw the movie'?" ĭisappointing action reboot The Transporter Refueled is so thoroughly misconceived that it took us a couple of extra days to pinpoint all the ways it leaves audiences disappointed - and possibly pining for the relatively sturdy drive-in/grindhouse-ready exploitation films of yesteryear.
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