Underneath his grittier, hyper-violent, modernist shaky-cam exterior is The mechanic still a Jason Statham movies-for better or worse. Remove the faux Tony Scott-film editing techniques and blood-laden frenetic action sequences and you got the infection source of struggle, a scene or two marvelous driving time and the necessary clip of Statham remove his shirt. The brief gratuitous female nudity and the more brutal killing is new, but when you reach the end it feels strangely familiar. Even the interesting twists on the original storyline is cheapened from an unwillingness on the part of creators to commit to something a little different. Still, to see Statham take down a roomful of people or a witness to a car crash via a bus not lost its appeal.
Arthur Bishop (Jason Statham) is a "mechanic", an elite assassin, who has no equal when it comes to killing. He performs his missions quickly, efficiently and without complications. And there is no remorse for them, he kills-until he is ordered to assassinate his best friend Harry McKenna (Donald Sutherland). Stricken with guilt following the performance of his task, Bishop takes Harry's glide son Steve (Ben Foster) under his wing and begins to train him in its deadly trade. As his new students learn quickly merciless art dealing death, begins to realize he is Bishop may have been tricked into killing Harry and Steve begin suspecting his father's demise true perpetrator.
Finally, a Studio brilliant idea to reshape a mediocre film. The original version of The mechanic, made in 1972, starred Charles Bronson; It was so generic it was later reissued as "Killer of Killers." It had very sparse action, little bloodshed and an ambiguous group of mercenaries making cryptic things to a nameless, faceless clothes. Mainly, was all it had going for it a unique, surprise ending. This new version of its predecessor examines weaknesses and improves them: the relationship between the Bishop and Harry are strengthened and made more poignant (along with nice addition of a wheelchair to Sutherland, who instantly grabs more sympathy), violence has tripled and the goodly intensified. There's even a sex scene thrown in to win over audiences itchy for a sampling of each typical R-rated item. Maybe it's just unnecessary surplus tidbit storage of Bishop's first name, Arthur, which sounds tragic dated.
Opening sequence unexpectedly demonstrates hitman's expertise, but fails to be anywhere near as exciting as a Bond or a comparative assassin like Leon. From here, action and suspense increases, the exploitation of Mission: impossible gadgetry and excessively bloody, creative and often humorous exacerbated violence. Stunts and destruction is efficient and fight choreography a clear imitation of The Bourne Ultimatum-a well-orchestrated and monumental improvement over the original. Touch of gentle piano music to contrast mechanics deadly intentions is a welcome inclusion and.
The final notes of the film defends theme "when a killer growing a conscience," resonantly proves that anti-heroes are generally redeemable, even though the cold-blooded killers (but never quite relentless or cruel). The greatest shame, however, is the author of failure to adhere to the original, uncompromising conclusion which was undoubtedly changed to placate viewers and producers that cannot handle the concept of finality.
-Massie twins ( GoneWithTheTwins.com )
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