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In tribute to the original pic, the Mini Cooper car, famously used in the first “Job” by Caine’s Brit crew to flee both Mafia and cops through the streets of Turin, is given high profile.In fact, the car is so brazenly presented it’s hard not to read some sequences as product placements.Īt first, Steve doesn’t see what’s coming, even when Stella poses as a cable TV service rep to spy on his palatial home, which contains the safe. The storytelling never stews over anything for too long, so that when Rob questions Stella’s ability to carry her weight, or when Charlie and Stella have to work out their personal problems, they’re dealt with succinctly.
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Perhaps too quickly, but not inconceivably, Stella puts aside her hesitation about stealing the gold back from Steve and joins Charlie’s merry band, already shown in action earlier, but now formally introduced: Handsome Rob (Jason Statham) is the ace driver and a major league Lothario Left Ear (Mos Def), with a hearing impairment, does munitions and Lyle (Seth Green) the all-essential computer genius, is a class clown who claims to bethe inventor of Napster.įrom here on, “The Italian Job” nicely balances genre basics with refreshing angles on the set-up and execution of the caper at hand (this time in L.A.), punctuated with an unexpected sense of humor. Both Charlie and Stella have their own reasons for revenge, even though Stella partially blames Charlie for dad’s death. trying to discreetly fence the gold bars. With pic’s theatrical trailer already giving away far too much of the twisty-turny plot, it’s hardly revealing to note that Norton’s Steve, seemingly a key part of the gang, double-crosses them in the Italian Dolemites, kills John and thinks he’s left the rest for dead.Ī year later in Philadelphia, John’s daughter Stella (Charlize Theron), who has turned dad’s safecracking skills to legal use as a security consultant, is approached by Charlie, after he’s heard that Steve is now in L.A. Wahlberg as Charlie is mastermind of the crew, and cinephiles will get a kick out of seeing Donald Sutherland as John, the group’s wise old master safecracker, back in his Venice, Italy “Don’t Look Now” haunts.įirst reel features larceny and some scuba gear, as the crew manages to steal $35 million worth of gold bullion out of a villa.
As it did two summers ago with “The Score,” Paramount has released a finely-tuned heist pic, and as in that thriller, Edward Norton plays a thief with a hidden agenda. A likeable ensemble that shows Mark Wahlberg in much better form than his previous Continental misadventure, “The Truth About Charlie,” helps “Job” considerably.įans of the genre will draw numerous connections to other films, and that becomes part of the fun. Rather, it has a cool sleekness associated with the best caper and Euro thrillers - the most recent comparable being the equally good if much darker “The Bourne Identity” (also similarly troubled by negative, pre-release rumors).
Unlike many recent remakes, this one doesn’t suffer from an air of desperate hipness - the visible creative sweat that comes from moviemakers working overtime to please a younger crowd.