Corey Yuen
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Where the film fails is in its resemblance, ironically, to Yuen's own work on The Bodyguard from Beijing (and even the awful Women on the Run) and in its uncomfortable similarity to John Woo's Hong Kong output--a cribbing owed as much to Yuen as producer Luc Besson, who has made it something of a closet industry in his action films to borrow liberally from The Killer and Hard-Boiled (and, in this particular instance, A Better Tomorrow II).
Which is not to say that it's up there with such Hong Kong classics as John Woo's "The Killer" or Jackie Chan's "Supercop."
Action fans be warned: The Transporter is little more than a cheap knock-off of John Woo’s The Killer.
Funny, then, that a movie bent on ripping off the basics of the show -- as well as the Bruce Lee movie "Game of Death" and other bits of inspiration for the Tarantino set -- can't be bothered.
Where the film fails is in its resemblance, ironically, to Yuen's own work on The Bodyguard from Beijing (and even the awful Women on the Run) and in its uncomfortable similarity to John Woo's Hong Kong output--a cribbing owed as much to Yuen as producer Luc Besson, who has made it something of a closet industry in his action films to borrow liberally from The Killer and Hard-Boiled (and, in this particular instance, A Better Tomorrow II).
It doesn’t greatly alter or improve on other movies of this mini-genre — “Drive,” “The Transporter” and the granddaddy of them all, “The Driver” with Ryan O’Neal (Netlfix it).
There are professional thieves of various stripes, a slick crime boss, a cute girl, and a hero that lives simply and doesn't talk much (he comes from a worthy family tree that includes Alain Delon in Le Samourai, Jean Reno in The Professional, Forest Whitaker in Ghost Dog, Jason Statham in The Transporter, and Ryan Gosling in Drive).
Their template should have been “The Transporter” — action, minimal motivation, odd glimpses of the illness and limit the back story.
There’s a that’s-my-job-but-I’m-so-much-more title similar to Statham’s “The Mechanic” or “The Transporter,” a plot that finds our antihero going rogue on a bunch of really nasty people, a villain played by whatever former sitcom star currently feels like stretching his acting muscles and an ending where there are so many bullets flying it’s sometimes hard to tell who’s doing the shooting.
An inventive close-quarters battle on public transport can be a thing of real beauty – just look at the bus sequences in Nobody and Shang-Chi and the Legend of the Ten Rings for two recent examples.
Where as Woo's "Hard Target" was ill-served by a meandering, talky, sentimental script--and the burden of Jean Claude Van Damme--"The Transporter" has almost no script at all.
What ensues is pure, unadulterated slaughter, delivered in a style similar to Luc “The Transporter” Besson’s action films, with a touch of John “The Killer” Woo.
Like Jason Statham in "The Transporter," he's got a strict set of rules that you better stick to.
Now, it's not like I'm looking to a violent vengeance film from the director of Taken and The Transporter to provide some subtle commentary on race, poverty, and the circle of violence (though it would be nice), but it does make me question the ultimate intent here.
He’s even been a cinematographer for multiple movies, including “The Transporter.”
Trading off the same sub-Willis impersonation that he used to equally dubious effect in " The One ", Statham's latest attempt to recast himself as a hard-man action hero is more "Hudson Hawk" than " Die Hard ".
Following the likes of Matt Damon ("The Bourne Identity") and John Cusack ("Grosse Pointe Blank") in surprising viewers by their realistic (or maybe even actually real) martial arts prowess, Statham is completely believable and is a great deal of fun to watch as the explosive transporter who delivers illegal goods for others for pay.
Writers Robert Mark Kamen and Luc Besson devise a film that combines both the action of a John Woo film and the intelligence of “La Femme Nikita”.
In the opening sequence of "The Transporter," actor Jason Statham elegantly edges into Luc Besson's hard-boiled world of "The Professional" and "La Femme Nikita."
The stylized mayhem of "The Transporter" has a good pedigree: Co-producer and co-writer Luc Besson put together a class act with Jet Li in "Kiss of the Dragon" and directed the action classics "La Femme Nikita" and "The Professional."
Amazingly, the film manages to work for those who aren't, and part of that's due to the effective script penned by Luc Besson (director of "The Professional" and "La Femme Nikita") and Robert Mark Kamen ("Kiss of the Dragon," "The Fifth Element").
What happens when you team up Hong Kong writer/producer/director/actor/fight choreographer Corey Yuen, known for countless Chinese action flicks dating back to the 1970s, French writer/producer/director Luc Besson, known for countless French movies like La Femme Nikita and Messenger: The Story of Joan of Arc , and American writer/winemaker Robert Mark Kamen, known for the Karate Kid movies and a really kickass Cabernet Sauvignon?
That, anyway, is the proposition of French enfant terrible producer-writer Luc Besson ("La Femme Nikita"), who has surrounded Statham with a lot of tough adversaries and pretty European scenery in an expensive-looking kick-fest called "The Transporter."
As entertainingly exaggerated popcorn-chompers go, "The Transporter" ranks not far behind the all-time action-camp champ like Robert Rodriguez's south-of-the-border shoot-'em-up "Desperado" and John Carpenter's "Escape from New York" and "Big Trouble in Little China."
So, Frank’s temptation gets the best of him when hired by a smarmy American known only as “Wall Street” (see Rule #2) to make a delivery.
Directed by Louis Leterrier (“The Transporter” and “The Incredible Hulk”) and scripted by five writers who are presumably unfamiliar with the concept of magic, “Now You See Me” is about a quartet of street illusionists – “The Four Horsemen” – who band together to steal large amounts of money from some high-profile victims.
As if elaborate, mentalism-abetted robberies weren’t enough, French director Louis Leterrier ( The Transporter , The Incredible Hulk ) pulls a car chase and a mano-a-mano brawl from his usual bag of tricks.
Action director Louis Leterrier (the man behind The Transporter films and Clash of the Titans) is so consumed with keeping an air of mystery about the spookily-named 'Four Horsemen' that it's impossible to identify with their audacious mission to rob banks and big businesses - as if by magic - and redistribute the wealth among the crowds.
Director Louis Leterrier ("The Transporter," "Clash of the Titans") doesn't use sleight of hand to keep his audience on their toes so much as constantly switching focus among a myriad of protagonists - the magicians, the debunker, the backer, the FBI, Interpol and magicians' marks - gutting the build of his central storyline in the process.
Louis Leterrier ’s directorial debut, " The Transporter ," was the movie that established Jason Statham as an action star.
August 22, 2005|Just in time to whet appetites for Transporter 2 (which, like the sequel to The Terminator , drops that pesky "the"), Fox reissues The Transporter on DVD in, Lord love us, a "Special Delivery Edition."
By the time Frank pulls a Raiders of the Lost Ark and fights bad guys while trying to hijack a tractor trailer, it's obvious what The Transporter has been doing right all along.
As entertainingly exaggerated popcorn-chompers go, "The Transporter" ranks not far behind the all-time action-camp champ like Robert Rodriguez's south-of-the-border shoot-'em-up "Desperado" and John Carpenter's "Escape from New York" and "Big Trouble in Little China."
As entertainingly exaggerated popcorn-chompers go, "The Transporter" ranks not far behind the all-time action-camp champ like Robert Rodriguez's south-of-the-border shoot-'em-up "Desperado" and John Carpenter's "Escape from New York" and "Big Trouble in Little China."