Surprise! It's not pants

Rating: 7/10 (14 August 2003)

Being a fan of the original Italian Job, I feared the worst. What friends and I got tonight, on its first night down here, was a well-paced Hollywood film that's a nice throwback to actioners that aren't disgustingly violent, with lighter moments and a distinctive flavour.
For once I agree with Mark Wahlberg when he described this third classic-remake starring him as a 'reimagining'. While it's clearly based on the original 1969 film, director F. Gary Gray (to whom I take off my hat) moves the proceedings along at such a pace that during its viewing, you aren't thinking of Michael Caine's Charlie Croker and Noël Coward's Mr Bridger. In fact, you like, but not sympathize with, the new characters of Handsome Rob, Left Ear and Lyle  a.k.a. Napster.
To show how different, there are very brief flashback sequences to the childhoods of Left Ear and Charlie Croker, appropriately accompanied by period pop music  and fortunately these aren't as bad as they sound.
Gray allows his performers room to move. Therefore, their own characters emerge, in particular Seth Green's unscripted imitation of Jason Statham's voice and accent in one scene. Gray places the camera inside the cars with the actors to get some great shots of Charlize Theron (in particular), Wahlberg and Statham driving.
It's apparent to the audience that they enjoyed making this film, with the exception of Norton, whose real-life lack of interest probably suited his role of double-crosser quite well.
But these aren't substantial characters. They are caricatures. You root for them because it's part of going to a movie for entertainment value and enjoying yourself. There is no additional reason: Wahlberg pales in scenes with Donald Sutherland because there is a too-evident comparison against a great actor. And thank God he drives so much because he sure as heck cannot walk like a man.
But Wahlberg, while lacking presence, is acceptable at all other times, as are the others. While we know she can act and act well from her earlier movies, Theron has her great beauty on her side, but largely goes through the motions.
Green is the only exception, turning in an excellent performance as a frustrated hacker who claims to be the inventor of Napster.
The entertainment value continues with far less blood than modern actioners and the ending  which I won't reveal  is less controversial than Troy Kennedy Martin's original.
In fact, don't expect any of the layers of meaning of the Kennedy Martin script, the commentary on a declining British national pride and economy and the idealism of "Britain with her back to the wall". Don't expect the interplay of the soccer game between England and Italy and its parallel against the Croker gang and the Mafia in the "job". There is a single track here, no extra meaning.
And don't expect memorable Quincy Jones melodies such as 'On Days Like These' or 'Self-preservation Society'. John Powell's score is standard, early-2000s Hollywood fare that will seem very period in five years' time.
Despite some moments, this film is largely predictable. The trailer lets most things out of the bag and the involvement of a separate Mafia  this time Ukrainian  is minimal. Still, it's a mainstream audience-pleaser that can stand strongly on its own merits. It's a 9 on the entertainment scale (a point off for a naff ending)  so let that be your motive when seeing this film.