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.
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.
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.
Homeless and on the run from a military court martial, a damaged ex-special forces soldier navigating London's criminal underworld seizes an opportunity to assume another man's identity -- transforming into an avenging angel in the process.
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.
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.
Detective Sergeant Tom Brant who is dispatched to take down a serial killer hell bent on killing off the police force one by one. "The Blitz" manages to slip through the grasp of Tom every time, and with the precious lives of his colleagues diminishing one by one, Tom is led to the question: if we can't protect our own, then what good are we? Written by
The screenplay for this film was featured in the 2007 Blacklist; a list of the "most liked" unmade scripts of the year. See more »
In the final scene when Brant shoots "The Blitz", Brant is holding a black Sig Sauer in close up. When the camera changes to a long shot shortly after he fires, Brant can be seen holding a silver revolver. See more »
Performed by KING MIDAS SOUND
Written by Martin / Robinson / Hitomi
Published by Just Isn't Music (PRS) / Westbury Music Limited / Copyright Control
Licensed Courtesy of Hyperdub See more »
Competent police thriller, set in London, with some nice cinematography
I fancied seeing a film on the way home from work today. When I arrived at the cinema this was the next film on. I went in cold, knowing nothing.
Funky title sequence, OK. Opening scene with Statham asleep on a couch OK, so its one of those Jason Statham films, fine I can go with that; Hollywood action film with a perfectly watchable lead, nothing too challenging, just what I need to unwind after a hard day at the office.
It was at this point that the old memory cells started working and I remembered that I had read something about the film. Oh no, isn't this a British film, set in London? Yes it is. Oh dear. I don't want gritty, low budget, realism, I don't want east end gangsters, mockney accents and all too earnest attempts to be cool.
I was pleasantly surprised to find my fears unfounded. This is really quite a good film.
Someone is killing London police officers, Statham, a cop who doesn't play by the rules (is their any other kind?) is out to get him.
Statham does his Statham thing, and does it very well. The man is no Brando, but this is a very creditable performance. He is believable as his character, he does quietly menacing, he does humorous, There is also a fair bit of charm in his interactions with his boss. There are a few scenes where he enlists the help of a WPC (very well played small part sorry can't remember the actor) to check computer records. I thought that the interaction between the two was very good and caused me to wish that we would see Statham in a more relationship based drama, rather than his standard action fare.
Aiden Gillen is very good as the deranged killer. He is obviously "not in his right mind" but Gillen's subtle performance and the breadth of emotions and he hints at keep him well clear of a pantomime "Psycho".
Paddy Considine is fine as Stratam's superior. Interesting to see the inclusion of this homosexual character where his sexuality has nothing in particular to do with the plot; he isn't a victim, there is no mincing, no angst he is just a straight (as it were) gay man. Very, very few incidentally gay people on the big screen.
Zawa Ashton was perfectly OK as a cop who became an addict while under cover for the drug squad. David Morrisey doesn't have much to do as the newspaper reporter whom the killer contacts to publicise his activities.
What surprised me about the film was how good it looked. The cinematography is excellent; nothing flashy, but at times quite beautiful. I have never seen London look so good on film. The fact that we were kept away from the usual tourist spots helped; no establishing shot here, sweeping up the Thames, taking in the London Eye, the Houses of parliament etc. No red London Buses (do they still have them?). Also, there was also no attempt to make the place look like America with aerial shots of skyscrapers etc. At the same time the film makers didn't go to the other extreme and have Albert Square, litter and kebab shops.
The action in the film is pretty low key in terms of spectacle, nothing blows up, nobody takes their shirt off. The violence is real rather than comic book stuff. For me, it comes across as real, rather than affected "gritty reality". (Now there's an oxymoron for you)
Now, I am not saying that this is a great film. It is an entertaining enough thriller, decently acting, with some very nice cinematography. I don't imagine that it will will a lot of awards. But, it does the heart good to see a half decent British film, that isn't trying to be American or (defensively) trying too hard to be British. We could do with a lot more.
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