Transporter, The Buy Transporter, The from my web shop

(- 2002 -)

Original Title Transporter, The Director Louis Leterrier Genre Action, Thriller, Crime Released 2002-10-2 MPAA Rating Rated PG-13 for violent sequences and some sensuality. Rated 6

Plot Summary

Ex-Special Forces operator Frank Martin (Jason Statham) lives what seems to be a quiet life along the French Mediterranean, hiring himself out as a mercenary "transporter" who moves goods - human or otherwise - from one place to another. No questions asked. Frank's newest transport seems no different from the countless ones he's done in the past. He has been hired by an American known only as "Wall Street" (see Rule Two) to make a delivery, but when Frank stops along route, he notices his "package" is moving. Violating his own personal rules, Frank looks inside the bag, finding its contents to be a beautiful, gagged woman.

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Actors / Character

Jason Statham as Frank Martin , Qi Shu as Lai , Matt Schulze as Darren 'Wall Street' Bettencourt , François Berléand as Tarconi , Ric Young as Mr. Kwai , Doug Rand as Leader , Didier Saint Melin as Boss , Tonio Descanvelle as Thug 1 , Laurent Desponds as Thug 2 , Matthieu Albertini as Thug 3 , Vincent Nemeth as Pilot , Jean-Yves Bilien as Little Thug , Jean-Marie Paris as Giant Thug , Adrian Dearnell as Newscaster , Alfred Lot as Cop 1

IMDB User Comments

The images say "cinema"; the music says "television" Style over substance? Not really. That's what happens when the director can't resist the temptation to include what he takes to be a cool-looking shot and in so doing makes nonsense of his own story or characters or themes. What we have here is style WITHOUT substance. There's no reason, all things considered, why the characters couldn't have been more involving as characters: there's nothing in the slick, zippy pacing, or the lovely golden photography, or the stylish French setting, or the cleverly conceived and choreographed fight scenes (for once, the word "edgy" actually applies; there's something exhilerating about the way the editing is ALMOST too fast to defeat its own purpose, but not quite) ... there's nothing in all of this that COMPELS the characters to be ciphers. Partly for this reason it doesn't even matter very much that they are. The film's construction, down to the very rivets, is solid, so while a keener sense of everyone's motivation would be nice, the film doesn't really need this much to hold itself up. Remember, it does go beyond the call of duty in other respects. It opens with an exceptional car chase sequence, and the oil-wrestling scene (one of those things which everyone who's seen the movie is likely to talk about) shows how it's possible for the hero to plausibly defeat several bad guys at once in a novel way. My main problem (which also doesn't matter very much in retrospect) was with the music. "The Transporter" may look and feel like a real movie, it may BE a real movie, but the music kicks in it sounds like a dodgy, charmless television cop show. This is not just an association of ideas. Music like this is inherently wrong for the big screen.

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