Martine offers Terry a lead on a foolproof bank hit on London's Baker Street. She targets a roomful of safe deposit boxes worth millions in cash and jewelry. But Terry and his crew don't realize the boxes also contain a treasure trove of dirty secrets - secrets that will thrust them into a deadly web of corruption and illicit scandal.
Mei, a young girl whose memory holds a priceless numerical code, finds herself pursued by the Triads, the Russian mob, and corrupt NYC cops. Coming to her aid is an ex-cage fighter whose life was destroyed by the gangsters on Mei's trail.
When his mentor is taken captive by a disgraced Arab sheik, a killer-for-hire is forced into action. His mission: kill three members of Britain's elite Special Air Service responsible for the death of his sons.
Ex-con Jensen Ames is forced by the warden of a notorious prison to compete in our post-industrial world's most popular sport: a car race in which inmates must brutalize and kill one another on the road to victory.
Frank Martin puts the driving gloves on to deliver Valentina, the kidnapped daughter of a Ukranian government official, from Marseilles to Odessa on the Black Sea. En route, he has to contend with thugs who want to intercept Valentina's safe delivery and not let his personal feelings get in the way of his dangerous objective.
A thief with a unique code of professional ethics is double-crossed by his crew and left for dead. Assuming a new disguise and forming an unlikely alliance with a woman on the inside, he looks to hijack the score of the crew's latest heist.
Business is slow for Terry Leather, a London car dealer, married with children. He's an artful dodger, so Martine, a former model with a thing for him, brings him her scheme: a bank's alarm is off for a couple weeks, so let's tunnel into the vault. He assembles a team, not realizing her real goal is a safe-deposit box with compromising photos of a royal: she needs the photos to trade for avoiding a jail sentence - and MI-5, or is it MI-6, is pulling the strings two steps removed. A Trinidadian thug, a high-end bordello owner, and a pornographer also have things stored in the vault, so the break-in threatens many a powerful personage. Is there any way these amateurs can pull it off? Written by
Roger Donaldson said one of the most difficult days of filming was when he filmed the brothel scene. The scene called for the women to be walking around wearing only garters. However, Donaldson said that when he went to film the scene he discovered that most of the women shaved their genitals, which would have been anachronistic for 1971. So the actresses had to wear pubic wigs called "merkins." This caused a problem because the merkins were hard to secure in place and kept slipping, causing Donaldson much aggravation. See more »
The use of the thermal lance is unrealistic. A skilled operator would check the gases are on and at the correct pressure before ignition, rather than relying on a third party to "turn on the oxygen" at the cylinder. As both the oxy-acetylene torch and the lance have shutoff valves, the operator could isolate all the gases if required. Since Bambas was the expert on drilling / tunneling, it is unlikely he would have allowed anyone else to operate the lance, as they would have had no experience of it. See more »
[while drilling a mileage meter back]
Another Terry Leather low mileage gem.
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Disclaimer: "The names of many people identified in this film have been changed to protect the guilty." See more »
If "The Bank Job" were fiction, it would be a fairly decent robbery caper. As it is, "The Bank Job," a veritable documentary and realistic whodunit, is awesome.
Unlike most films, this one requires a couple of advance tips: First, watch it with the improbable idea in mind that most of it is actual, hard-to-believe truth; second, don't be impatient. As the story of a 1971 bank robbery begins, the setting in London, the parade of seemingly unconnected stories and characters is rather confusing, complex, disjointed. But stay with it - there is a crescendo of excitement and excellence.
The true elements of "The Bank Job," some hidden until recently by Britain's "D Notice" censorship law (modified in 1993, becoming DA, or Defense Advisory) are these:
1. A big bank robbery did take place on Baker Street in 1971, culprits never found, money never recovered. After initial big headlines, the story disappeared from the newspapers.
2. There was serious police corruption in London in the 1970s, cops on payrolls of drug dealers and pornographers.
3. Princess Margaret was involved in a series of affairs, some caught on compromising photos which were not published by the otherwise relentlessly sensational British press, under the D-Notice rule.
4. There was a militant British black-power advocate, called Michael X, involved in a one-man, multi-country crime wave. (In 1971, John Lennon paid for Michael X's bail, something not mentioned in the film.)
"The Bank Job" director Roger Donaldson (of "No Way Out") brings together all these true threads in a way that may be true even in its totality, director and cast prevailing over some shoddy work from too many writers.
The content is all true, the context is excitingly possible. Did the government, in trying to prevent exposure of Princess Margaret by evidence in Michael X's possession, mastermind the bank robbery? Was MI-5 or MI-6 (says a policeman in the film: "I never remember which is which") involved, and actually assisting the robbers? Again, possibly.
The cast is remarkable: Jason Statham is the ringleader, the bad guy of "Transporter" and "The Italian Job" turning into a scourge of the really bad guys. Saffron Burrows, James Spader's vamp nemesis on "Boston Legal," brings her remarkable name and looks to the criminally and emotionally ambiguous major female role.
Peter De Jersey is a totally scary Michael X; David ("Poirot") Suchet is a frightening crime lord; and a whole host of top British stage actors fill in big roles and small ones. Don't be misled by reviews speaking of a so-so thriller - "The Bank Job" is a great deal more than that, even to the point that you may want to see it more than once.
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