MCN Columnists
Mike Wilmington

By Mike Wilmington Wilmington@moviecitynews.com

Wilmington on Movies: Parker

 

 

PARKER (Two and a Half Stars)

U.S.: Taylor Hackford, 2013

There was this old college movie friend of mine who got sick a few years back. He discovered he had terminal cancer and not too much tine left. When he found it out, he told a few other friends that he intended to get started immediately re-reading all of Raymond Chandler’s Philip Marlowe detective novels. After that, he intended to re-read all of Richard Stark’s “Parker” books —  “Richard Stark” being the pseudonym for Donald E. Westlake on a series of crime novels about n hard-boiled. outlaw named Parker.

Have you seen the great film neo-noir Point Blank, with Lee Marvin as a  vengeful killer named Walker? That’s Parker. Have you seen — and there’s no reason you should — Mel Gibson in Payback, as  a bad-mouthed, vengeful hard guy named Porter? That’s Parker too. (Stark, or Westlake, didn’t like his character’s name being over-used.) Both movies, by the way, are adaptations of the Stark book The Hunter, in which Parker is double-crossed by a guy in the mob and takes them all on: one by bloody one.

Parker is also the ruthless anti-hero in a violent new neo-noir called, appropriately Parker — and this time the character is played by that tough Brit from Lock, Stock and Two Smoking Barrels, Jason Statham. Like the Walker Lee Marvin played in Point Blank, this Parker is an ultra-hard-boiled gunman involved in a heist where his partners double-cross him and leave him for dead — and he goes after them all. In Point Blank Parker’s targets were mostly establishment-looking crooks, including the pre-Archie Bunker Carroll O’Connor as a baby fat real-estate type with a pool. Here, they’re mostly creeps and killers operating in West Palm Beach who look like thugs with money —  including Michael Chiklis, who once played John Belushi in the film of “Wired” and who here impersonates a bald mean murderous tubbo named Melander.

Like Marvin in Point Blank, Statham has a sexy femme sidekick. Marvin had leggy Angie Dickinson and Statham has more-than-leggy Jennifer Lopez as Leslie, a real-estate agent without any baby fat (as she proudly demonstrates). Leslie also has a blabbermouth Latina mama named Ascension played by Patti Lupone. (I have no objection to this kind of anti-Evita casting, but couldn’t they have given Patti a song? Or a hum? “Don’t Cry for Me, West Palm Beach?“

The movie’s one-against-a-bunch plot is very similar to Point Blank or to The Hunter or Payday, but since I haven’t read “Flashfire,” the Stark book on which it’s based, I have no idea how close it is to its alleged source. In any case, it’s a revenge fantasy and one of the more well-used and often-recycled ones — and it works fairly well here, though not perfectly. That’s largely because we don‘t want J-Lo to be playing second fiddle to Parker’s mentor Hurley’s (Nick Nolte) stand-up daughter Claire (Emma Booth), especially when Lopez has the bigger part. Instead of Parker, it’s Bobby Cannavale as a cop-on-the make named Jake who keeps hitting on her.

Also the last action scene, a heist with explosions,  is unimaginative and wildly, unfunnily implausible and doesn’t play very well, especially compared to the movie’s rousing, very good, Charley Varrick-style  opening scene — : a complex Killing-style robbery at the Ohio State Fair, complete with clown suits and pig races, where Parker is disguised as a  priest and where his fellow robbers  end up bashing him and taking his share, leaving him for dead, and expecting to get way with it. If they’d ever seen Point Blank. they would have known better.

Those two scenes didn’t ruin the movie for me though, and I’ve seen (and disliked) a lot of this kind of show. Taylor Hackford is a smooth director, and when he has good material, he makes a good film,. Here, he has half good material and the result, of course, is a half good film.

Statham is, of course. a believable tough guy who looks like he could take a punch or two, which is why they keep casting him. I liked him in The Bank Job and in his Guy Ritchie movies, and not much else, but that’s not necessarily his fault. Statham usually doesn’t make the kind of shows that encourage quality or innovation.  This movie is fairy well-directed , by Hackford — who has made some very good movies, like Ray, and also a pretty good remake of Tourneur and Mainwaring’s Out of the Past, Against All Odds, starring Jeff Bridges, Rachel Ward and James Woods in the Mitchum, Jane Greer and Kirk Douglas roles — and Greer as, essentially, an old Jane Greer.

It’s better written than some of these shows, by John J. McLaughlin (Hitchcock and Black Swan ). It’s also very violent, which means that we get a lot of shooting and, at one point, Parker banging some hood‘s head in with a cracked toilet seat.

Does the movie encourage violence? Given the extreme and borderline ridiculous nature of what we see here — people hanging from high-rise balconies and kicking each other, and bombs going off  at the start of a jewelry auction — I’d say you’d have to be  a little nuts to want to emulate the behavior in this movie, especially since Parker doesn’t win J-Lo in the end. Not that J-Lo gives all that good a performance here. Then again, she doesn’t really have to.

And in any case, I think people are less likely to run out and shoot someone (or even dangle from a high-rise) after they see Parker than they might if a loaded gun were lying around the house, and they got mad about something. The problem with the violence in today’s movies, is how pervasive it is, how unrelenting, how the moviemakers over-depend on it and don’t vary their game. I don’t really think people kill other people because of movies — but  I don’t want to get into a knock-down drag-out on this subject, especially if there’s a loaded gun sitting around the house.

Some of you may be wondering if my friend Mark died happy after reading all that Raymond Chandler and all that Richard Stark (a.k.a. Donald E. Westlake). I honestly don’t know. I hope so. But then I don’t really think anybody dies happy, and I‘ve watched a few people die. The major thing you can do when it happens is to be there — and to hope when you’re dying (and you will)  that there’s somebody to talk to you and get you a copy of “The Hunter”  or “Farewell, My Lovely” or even “War and Peace” if you want one. It’d help if she looked like J-Lo. But in the end it really doesn’t matter.

Leave a Reply

Wilmington

awesome stuff. OK I would like to contribute as well by sharing this awesome link, that personally helped me get some amazing and easy to modify. check it out at scarab13.com. All custom premade files, many of them totally free to get. Also, check out Dow on: Wilmington on DVDs: How to Train Your Dragon, Treasure of the Sierra Madre, The Darjeeling Limited, The Films of Nikita Mikhalkov, The Hangover, The Human Centipede and more ...

cool post. OK I would like to contribute too by sharing this awesome link, that personally helped me get some amazing and easy to customize. check it out at scarab13.com. All custom templates, many of them dirt cheap or free to get. Also, check out Downlo on: Wilmington on Movies: I'm Still Here, Soul Kitchen and Bran Nue Dae

awesome post. Now I would like to contribute too by sharing this awesome link, that personally helped me get some beautiful and easy to modify. take a look at scarab13.com. All custom premade files, many of them free to get. Also, check out DownloadSoho.c on: MW on Movies: The Girl Who Kicked the Hornet's Nest, Paranormal Activity 2, and CIFF Wrap-Up

Carrie Mulligan on: Wilmington on DVDs: The Great Gatsby

isa50 on: Wilmington on DVDs: Gladiator; Hell's Half Acre; The Incredible Burt Wonderstone

Rory on: Wilmington on Movies: Snow White and the Huntsman

Andrew Coyle on: Wilmington On Movies: Paterson

tamzap on: Wilmington on DVDs: The Magnificent Seven, Date Night, Little Women, Chicago and more …

rdecker5 on: Wilmington on DVDs: Ivan's Childhood

Ray Pride on: Wilmington on Movies: The Purge: Election Year

Quote Unquotesee all »

“When Bay keeps these absurd plot-gears spinning, he’s displaying his skill as a slick, professional entertainer. But then there are the images of motion—I hesitate to say, of things in motion, because it’s not clear how many things there are in the movie, instead of mere digital simulations of things. It doesn’t matter. What matters is that there’s a car chase through London, seen from the level of tires, that could have gone on for an hour, um, tirelessly. What matters is that the defenestrated Cade saves himself by leaping from drone to drone in midair like a frog skipping among lotus pads; that he and Vivian slide along the colossal, polished expanses of sharply tilting age-old fields of metal like luge Olympians. What matters is that, when this heroic duo find themselves thrust out into the void of inner space from a collapsing planet, it has a terrifyingly vast emptiness that Bay doesn’t dare hold for more than an instant lest he become the nightmare-master. What matters is that the enormous thing hurtling toward Earth is composed in a fanatical detail that would repay slow-motion viewing with near-geological patience. Bay has an authentic sense of the gigantic; beside the playful enormity of his Transformerized universe, the ostensibly heroic dimensions of Ridley Scott’s and Christopher Nolan’s massive visions seem like petulant vanities.”
~ Michael Bay Gives Richard Brody A Tingle

How do you see film evolving in this age of Netflix?

I thought the swing would be quicker and more violent. There have been two landmark moments in the history of French film. First in 1946, with the creation of the CNC under the aegis of Malraux. He saved French cinema by establishing the advance on receipts and support fund mechanisms. We’re all children of this political invention. Americans think that the State gives money to French films, but they’re wrong. Through this system, films fund themselves!

The other great turning point came by the hand of Jack Lang in the 1980s, after the creation of Canal+. While television was getting ready to become the nemesis of film, he created the decoder, and a specific broadcasting space between film and television, using new investments for film. That once again saved French film.

These political decisions are important. We’re once again facing big change. If our political masters don’t take control of the situation and new stakeholders like Netflix, Google and Amazon, we’re headed for disaster. We need to create obligations for Internet service providers. They can’t always be against film. They used to allow piracy, but now that they’ve become producers themselves, they’re starting to see things in a different light. This is a moment of transition, a strong political act needs to be put forward. And it can’t just be at national level, it has to happen at European level.

Filmmaker Cédric Klapisch