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 one of whom is related to a known mobster. They pull off the job flawlessly and Parker wants to part ways with them. But because he refused to join them for another job 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. He learns where they are and poses as a wealthy Texan looking to buy a house. So he hires a Realtor, 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, they contact the mobster to take care of him. So he sends a killer to take care of him. 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 (Walker), The Split (McClain), The Outfit (Macklin), Slayground (Stone) and Payback (Porter). See more »
When Jason is driving the Bentley and makes a U turn and stops, a crew member and the gear are visible in the door. See more »
[points the gun]
Do what I say and you won't get hurt.
[tried to take out gun from holster]
Mine's bigger than yours.
[shoots him in the leg]
It's not the size, it's how you use it.
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As a fan of Donald Westlake's writing -- he did the Parker books under the pseudonym of Richard Stark -- I have long been bemused by the inability of film makers to adapt his work for the screen. Westlake wrote for the screen himself, and the Parker books are nothing but action and plot. Yes, there's character, but you figure it out from what Parker and his associates do.
With this, the fourth attempt to film a Parker novel, the film makers have found a practical if surprising choice for the title role. Jason Statham is not an actor of great oratorical powers, but he is a great physical actor, and he moves constantly like an angry tiger in a cage. The choice of a caper which is set largely in Palm Beach, with its artificial, pointless display of wealth and no other reason for existence is the perfect backdrop for the ferocity of Parker in his battle with Michael Chiklis' Melander; Jennifer Lopez' clueless Leslie, who gets caught up without understanding what is going on, gives the audience a good point of view.
Director Taylor Hackford is not a great director, but he is a highly competent one. Sixty years ago he would have been a major director for a studio, setting and working in the house style. Give him a story he can work with and he will hit all the notes, efficiently and effectively, and he has done so here. If the Parker of this movie is different from the Parker of the books, a bit more philosophical (although it comes down, in the end, to the tigerish "Do what I tell you and I will devour you last") we need to remember that a movie is not a book. This is not Donald Westlake's Parker, nor even the Parker I see when I read the books. However, it's still a very good one and worth your attention.
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