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.
A case of mistaken identity lands Slevin into the middle of a war being plotted by two of the city's most rival crime bosses: The Rabbi and The Boss. Slevin is under constant surveillance by relentless Detective Brikowski as well as the infamous assassin Goodkat and finds himself having to hatch his own ingenious plot to get them before they get him.
A botched card game in London triggers four friends, thugs, weed-growers, hard gangsters, loan sharks and debt collectors to collide with each other in a series of unexpected events, all for the sake of weed, cash and two antique shotguns.
Parker is a thief who has an unusual code. He doesn't steal from the poor and hurt innocent people. He is asked to join 4 other guys on a job. They pull it off flawlessly. They tell Parker that what they got can help them set up another job which will net them much more. But Parker doesn't want to join them and asks for his share. But they need it all so they try to kill him. They dispose of his body but someone finds him and he is still alive and takes him to the hospital. After recovering he sets out to get back at the ones who tried to kill him, another one of his codes. Despite being told that they are working for a known mobster which he was not aware of, he still wants to go after them. He learns where they are and poses as a wealthy Texan looking to buy a house. So he hires a real estate agent, Leslie Rogers to show him around. He is actually trying to find out where they're holed up. And when he finds it, he sets out on his plan to get them. But when they learn he is alive, ... Written by
This is the first adaptation of a Richard Stark/Parker novel to use the character name Parker. Although the following movies are based on the "Parker" novels, the name was always changed: Point Blank (1967) (Walker), The Split (1968) (McClain), The Outfit (1973) (Macklin), Slayground (1983) (Stone) and Payback (1999) (Porter). See more »
After his stabbed hand is stitched-up, and he's eating soup, you don't see a bandage or the stitches on his cut hand. See more »
[after Leslie buys a large cup of coffee]
Hey, you have a cupholder in your car, or you just keep that between your legs?
Well, it's large and black, Jake. Where do you think I like it?
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Parker, a.k.a. "Every other Jason Statham film ever...but this time with a ten gallon". I won't be going in a detailed review, because if you've seen one Jason Statham flick you've seen every Jason Statham flick. Don't believe me? Here are some common trends I've noticed across his other films also present in this one: 1. Obligatory scene where he runs away from the hospital, minutes after waking up from being shot, beaten and/or mauled by a bear - check. 2. Semi-anonymous protagonist that is just a ridiculous badass for no apparent reason - check. 3. Whatever dubious activities he takes part in are explained to the viewer as honorable in a "everyone gets dirty" kind of way, because you know, JS has a code he adheres to and that automatically makes crime acceptable - check. 4. Women are magnetically compelled to his junk by his mere presence - check. Fast and fancy cars, because. (No I didn't forget the rest of the sentence) - check. 5.Walking around seemingly unfazed with broken appendages, ribs, collar bones, multiple gunshot wounds, knife stabbing wounds and/or bear mace - check.
All and all it's an okayish film, if you've never seen another Jason Statham flick before, but at this point it's just stupid to keep casting him in the same role, in the same film, over and over. It's obvious he's not a brilliant actor, but he has a lot more to offer than what is currently being churned out. Speaking of acting don't get me started on Jeniffer Lopez - her acting is just wince-inducing. Apparently the director thought the same and cast her in the film as a walking butt to centre shots around in the time Jason is off screen, presumably to make JS' male fans feel less awkward and have an excuse about having an erection throughout the movie, because we all know how unsure of themselves "bros" are.
It's a completely forgettable film you will probably regret paying actual real world money to see, because you will feel like you've seen this film at least 4 other times.
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