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Review Uploaded
06/27/03

1 hr. 44 mins.
Starring: Mark Wahlberg, Charlize Theron, Edward Norton, Donald Sutherland, Seth Green, Mos Def, Jason Stathan, Frankie G
Directed by: F. Gary Gray

Rating: ** stars (out of 4 stars)

It doesn’t look all that promising for musician-turned-actor “Marky” Mark Wahlberg in terms of cornering the movie remake market. For starters, his involvement in the awfully staid 2002 romance thriller The Truth About Charlie wasn’t exactly going to make us forget about the original 1963 charmer Charade starring the debonair duo of Cary Grant and Audrey Hepburn. And although his remake of 2001’s Planet of the Apes was more receptive to less-than-choosy audiences, Wahlberg didn’t exactly make anyone want to dismiss perennial Ape man Charlton Heston from their memory banks either. Well, the realm concerning inferior remakes continues in stride as Walhlberg dutifully accepts another assignment designed to evoke reminiscences of yet another original flick from yesteryear. This time, director F. Gary Gray (Set It Off, The Negotiator, A Man Apart) is at the helm by placing Wahlberg in Michael Caine’s former shoes by featuring him in the hyperactive updated version of The Italian Job. Although some will predictably succumb to Gray’s overly kinetic and slick-looking heist caper, this stylized action-packed robbers flick fails to steal anything worth value within this repetitive genre.

Peter Collinson’s 1969 predecessor featured the charismatic antics of Caine as he attempts to abscond with a fortune in Turin gold. The original Job wasn’t exactly a flashy or flawless crime caper by any stretch of the imagination. However, it’s true spunk was in the cavalier performance of Caine as he and his cohorts were pitted in a hammy heist motion picture that knew how to be cheeky and had fun with its somewhat campy presentation. Collinson’s nifty narrative knew how to playfully wink at the audience and remind them what breezy intrigue his suspenseful session was in its execution. Gray, armed with the contemporary sophistication of swift cool cars and the photogenic cads that drive them recklessly, oversees a jumpy juggernaut that basks in its empty-headed jolting escapism. Consequently, the revitalized The Italian Job looks like the “reel” deal in terms of its surge of sensationalism but feels like a contemporary clunky concoction of exaggerated action-oriented clichés simply going through the notable summertime motions.

Wahlberg assumes the role as crafty con man Charlie Croker, the leader of a criminal-minded crew out to successfully orchestrate a hefty boost that’s at stake. What makes Croker’s determination to snatch this rich fortune has some personal merit attached to it other than to profit from the stash financially. You see, this precious loot--$35 million in gold bars-- was stolen from Croker and company from a deceptive associate of theirs named Steve (Edward Norton). And now the ragtag group looks to settle the score and avenge the duplicitous deeds of the calculating Steve. As one can imagine, this whole ordeal will be a frothy exercise with the explosive back-and-forth gamesmanship being played by the questionable honor among thieves.

The film starts out with a bang as we’re introduced to the deceitful players doing their “thing” in exotic Venice as they manage to lift the safe of grand ole’ goodies. Before the fallout occurred involving Charlie and Steve, they worked diligently in carrying out this elaborate theft escapade with their capable collaborators in tow that included wily veteran and mentor John (Donald Sutherland), showy get-away driver Rob (Jason Statham), explosives handler Left-Ear (Mos Def) and computer hacker Lyle (Seth Green). Thus, the stage was set and the game was on for some full-fledge shenanigans to take place. As a result of this precarious ploy, the film manages to pull off the obligatory stagy chase sequences that are scattered about in the scenic Italian canals.

After the “job” had been completed in Italy, other geographic locations would then change the complexity of the laborious heist that was marvelously performed. Once in The Alps, Steve decides to switch gears and pulls a fast one on the unsuspecting group. His backstabbing scheme in running off with the majority of riches causes all sorts of dissention that forces the group into a downward spiral of desperation. Steve has thrown them all off track and is solely responsible for the demise of revered older statesman John. Well, the brunt of the revengeful operation unfolds back in Los Angeles where Charlie rounds up the usual suspects once again in an effort to retaliate against the treacherous Steve. Along for the raucous ride is the late John’s lovely and curvy daughter Stella (Chalize Theron), a talented and resourceful safecracker. Soon the air is cleared and Charlie and Stella will become the ultimate larcenous lovebirds…a modern-day Bonnie and Clyde if you will.

And so the jumpy wheeling and dealing wears itself out as Charlie and his faithful followers cause havoc in the streets of L.A. as their pursuit of Steve resumes and the wishful thinking of getting their hands on the remaining loot he deprived them of in Europe remains a top priority. Filmmaker Gray does seem to have a fanciful time using the city as a progressive playground for these rebels to race around in at high-caliber ease. When the film pumps up the volume, the madness is persistent much like inside an overactive pinball machine. Gray stays true to form as he uses the choice of vehicle, namely Mini Coopers, to highlight the car chasing action sequences. Of course the Mini Coopers were instrumental in the original flick some thirty-four years ago as well. Naturally, moviegoers will automatically be impressed by the construction of the juiced-up “I’m-going-to-get-you-at-any-cost” mode courtesy of revved up carousing cars stirring up the session. Guest what folks, amplified car chases are nothing out of the ordinary-they do come with the territory! After all, it’s a rule of thumb in magnified popcorn piffle such as this frenzied formula. To round out the high jinks, the old stand-by of Russian mobsters is thrown in for more additional thrills and other twists and turns are realized cleverly for the most part.

The Italian Job could have been distinctively savvy with its techno-tenaciousness and swank look at law-breaking polished players who know what the real meaning of the term “smooth operators” is really all about. However, this bouncy and bragged B-movie thriller never brings anything new to the table. Sure, most will excuse Gray’s exposition as a brainless diversion only meant to serve as brazen eye candy hence signaling folks to lighten up and enjoy the aimless mockery. Well guess what, anyone can suspend their senses at anytime and surrender their logic to a visually stunning but lacking action piece. Certainly Job had the capability of being smarter and bucking the safe and systematic adrenaline unruliness for something more in-depth based on its insistence of being brash and brawny. From a technical perspective, Gray’s showcase is impressively viable and nobody can question the flamboyance of the crisp cinematography or argue with the eye-popping choreography that dictates the spiffy action that moviegoers will probably drool over without hesitation.

Normally, characterizations aren’t much of a factor in frivolous fare such as giddy heist films directed at the hungry senses. Respectfully, I disagree. Rather than pinning the brunt of the suspense on the action-oriented goings-on, it’s only fitting that the perpetrator of the intriguing act be as compelling because it brings more of a dynamic angle into the whole rigorous routine.

The leads and supporting cast are not in sync with one another. Wahlberg may be physically buff but his overall presence leaves less muscle to be desired. His alter ego Charlie Croker is too bland and inconsequential to make much of an impact as the scheming leader. Theron does exude the sexiness needed to mix it up amongst the testosterone-charged team. However, the romantic connection between her and Wahlberg flickers here and there with nothing much to call concrete. Norton, an amazingly gifted two-time Oscar-nominated actor, is completely ineffective and predictable in a bad guy role that virtually anyone with half his talent could sleepwalk through with no difficulty. The rest of the gang is high strung in their irreverent sort of way.

One could say that this Job has its fringe benefits but for the most part the boisterous bonuses aren’t particularly up to the task.