Oh, Goodie: A Jason Statham Movie (With Saffron Burrows)

Self has been so lackadaisical about the movies coming out now (OK, she did get to see two good movies, back-to-back: “Definitely, Maybe” and “In Bruges”). This weekend, she is contemplating her choices, and there is only one movie she really wants to see: Jason Statham’s “The Bank Job.”

Self loved the first “Transporter” movie. She finds Mr. Statham’s oddly balletic fight moves a hoot.

Self also likes Saffron Burrows. Why is this woman not more famous? Sometimes self thinks she looks like Connie Nielsen. She was in “Deep Blue Sea,” a movie self liked exceedingly for making her laugh (the high point was Samuel L. Jackson’s encounter with a shark). She was in that other movie with Dougray Scott, the one about English code-breakers, “Enigma” (That had Kate Winslet, too, but self almost forgot she was in it).

Now the two are teamed up! So that makes a perfect movie-going opportunity! And it turns out that Manohla Dargis of The New York Times reviewed it today. Among other things, she calls the script “busy” and calls attention to the fact that it was based on a true crime: a 1971 London vault clean-out which “Baker Street labeled the walkie-talkie robbery” (because “the thieves squawked on the airwaves like crows” — Thank you for that exceedingly important bit of information, Ms. Dargis!)

Ms. Dargis calls Jason Statham “a bullet-headed looker” (which self interprets to mean that he looks good, even though bullet-headed) and “a B-movie action pin-up” (Ms. Dargis, self would beg to disagree: “The Transporter” was no B-movie!)

Anyhoo, self reads this kind of sentence and thinks it translates to an A+ movie:

    “Stuffed with personalities, the fast, fast, fast story unfolds somewhat like a three-dimensional chess game . . . “

Never mind what the three dimensions are, Ms. Dargis’ explanation will only bore you to tears, dear blog reader.

And now to what Ms. Dargis has to say on the subject of Saffron Burrows:

    A former model, this angular, melancholic beauty has, after making the usual independent rounds — Mike Figgis directed her in his screen adaptation of the Strindberg play “Miss Julie” — slowly and somewhat unexpectedly emerged as an actress to watch. Sadness clings to Ms. Burrows: it hoods her eyes, tugs at her mouth and wraps around her like a gossamer shawl. It gives her mystery and, like the hints of age edging her face, blunts the impact of her beauty, making her character more human and emotionally accessible than she might register otherwise.

Wow, is that a rave review or what???

Then Ms. Dargis goes on to explain the appeal of the “great heist film” and why Ms. Burrows’ presence in this one is so particularly refreshing:

    Central to the pleasure of a great heist film is the spectacle of men (rarely women) at work, men who through their hard labor, their sweat and stratagems . . . defy the law and society.

Speaking of which, when was the last time we saw a heist movie with women con artists? Wasn’t that just recently: “Mad Money”? And isn’t this Women’s History Month? Is this a coincidence? And, who cares?

Stay tuned, dear blog readers, stay tuned.

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