The Bank Job Review
Posted by Chad Webb on 03.10.2008
A “based on a true story” thriller that doesn’t abuse the label.
Jason Statham: Terry Leather
Keeley Hawes: Wendy Leather
Saffron Burrows: Martine Love
Stephan Campbell Moore: Kevin Swain
Daniel Mays: Dave Schilling
James Faulkner: Guy Singer
Alki David: Bambas
Michael Jibson: Eddie Burton
Richard Lintern: Tim Everett
David Suchet: Lew Vogel
Directed By: Roger Donaldson
Written By: Dick Clement and Ian La Frenais
Release Date: March 7, 2008
Running Time: 110 minutes
R for sexual content, nudity, violence and language.
The Bank Job is a standard issue caper picture, augmented solely because it is based on true events. In the spirit of relatives such as Ocean’s Eleven and Inside Job, it succeeds at blending a clever plot drenched with an intriguingly fascinating cast of characters. Coming full speed with cliches such as walkie talkies, drills, and bundles of exciting loot, this is a pleasantly fulfilling piece of entertainment, though any problems it has raking in money at the box office can be blamed on the horrid title.
The story dramatizes the 1971 Baker Street robbery. It involves a car dealer named Terry Leather (Jason Statham) with a not-too-approving past, who has basically settled down with a wife (Keeley Hawes) and two little girls. One day an attractive model from his old neighborhood, Martine Love (Saffron Burrows), approaches him with an offer on how to knock off a bank. How could he pass up such a tempting deal? He gathers his friends, some with special skills, and prepares to pull in a lifetimes worth of cash. The target is a vault packed with safety deposit boxes. The problem is, Terry and his crew have no idea that Martine is actually searching for a specific box, one that houses incriminating photos of a certain Royal Family member. Martine is working for a MI5 agent named Tim Everett (Richard Lintern), who intends to bring down the owner of the images, a black militant who calls himself Michael X. As Scotland Yard, the British government, and all sorts of shady individuals are brought into the fray, Terry and his crew proceed ahead unaware of what is happening.
Any film that applies the stamp “based on a true story” will instantly acquire attention. The Bank Job is no different, although one can’t help but wonder precisely what and how much has been manipulated and contorted for the filmmakers needs. The real robbery made headlines, but was quickly gagged by the government with a D-notice, which is an official request for news editors not to publish information that threatens national security. A pat on the back is in order for the screenwriting team of Dick Clement and Ian La Frenais, who presumably did thorough research to squirt the essential glue into the empty areas that were tentative and debated. Nevertheless, the amount that has been altered makes no difference. The goal of providing thrilling cinema was achieved, though it is not overly outstanding in any way. This will not make top ten lists at the end of 2008, but who cares? No better term fits The Bank Job than “solid.”
Jason Statham has emerged into this decade's most charismatic and accessible B-movie star. With amusing action rides like Crank under his belt, it is not hard to understand his popularity, however, his contributions to enormous duds like War and In the Name of the King: A Dungeon Siege Tale cause some question of his reliability. As the car garage salesman Terry Leather, Statham eliminates the majority of his tough guy routine and assaulting one-liners for a clear-cut role of a restored family man. His acting is sufficient, and he leads the substance with a firm grasp.
The rest of the cast will not jump out as mainstream names one observes on posters every weekend. Saffron Burrows steps in as Martine Love with a terrific portrayal as the woman pushing on one end, and being instructed on the other. She is recognizable from the underrated Reign Over Me. Everyone else slips into the varied personas with delightful ease. Daniel Mays as Dave Schilling is hilarious, Richard Lintern is enthrallingly stiff as Tim Everett, and Keeley Hawes is fantastically supportive as Terry’s better half Wendy. Including Statham, this cast works as a unit, and that is part of the reason why The Bank Job will impress viewers. Regardless of any known names, they all operate excellently as a squad similar to Guy Ritchie’s Lock, Stock, and Two Smoking Barrels or Snatch.
The absence of surprising twists for maintaining a grounded and gritty atmosphere aids in admiring The Bank Job’s confident attitude. Director Roger Donaldson has helmed a string of satisfactory submissions dating all the way back to Cocktail, and up to The World’s Fastest Indian and The Recruit. He was attached to his share of flops like Dante’s Peak, but normally he can be counted on to supply movies that will not have you regretting the admission price. The plot unfolds in linear fashion, avoiding the risks of patchy editing or fooling the audience. Donaldson is brilliant at comprehending a sense of pacing. Nothing from his canon is tedious, that is for sure. His primary handicap is crafting memorable scenes. Indeed they are suitable, but not unforgettable.
The Bank Job leaves a cool and comfortable aftertaste as a meat and potatoes type of heist thriller. Exact details of what truly transpired during that period on Baker Street are still up in the air, but at least this film instills its own theories with sustaining energy. Like any decent associate of the genre, the process is just as rewarding as the payoff. One does not overshadow the other. It is organic and contains a smell and guise that is understated. The Bank Job is a slick and sweet refreshment that will quench your thirst, but not have you begging for more.
The 411: I enjoyed The Bank Job, but I’m not going to go crazy about it or anything. This was a pleasantly satisfying caper, completed in the old school tradition of filmmaking. Director Roger Donaldson has delivered another effective movie, but I am curious if he can ever get over that “average” hump he seems to be stuck on. Jason Statham thankfully has veered away from his B-movie traits for at least one film, and he does wonderfully with an equally as interesting British cast. If you are one that has not been fooled by Roland Emmerich’s CGI fest 10,000 B.C., but still wish to attend your local theater, give this a shot. It won’t let you down.
