Transporter 2

The second Transporter movie somehow forgot its alphabet and, rather than stopping off at B, pranced off into its even lower categories. However, the considerably larger budget and over the topness make this into one big action party that easily exceeds part one in terms of quality. Just too bad that the powerhouse and star - the indestructible Audi A8 with its unstoppable charm - disappears from the story about half way through. (02/19/2008)

I feel that Besson's production and especially screenwriting prefabrications are starting to become a genre in their own right. Well, let's just call them “Bessonflicks” = narratively stupid brain-wash for viewers endowed with a hell of a lot of detachment. This sequel has is ten times more of that than in the first one (which I liked for its unconcealed simplicity and pace), but the plot and most of the action passages become so absurd that they start to get boring – more bombastic action sometimes doesn't mean more fun. And the transfusion of the antidote and the airplane at the end really sucked. (03/16/2006)

Uh? What on earth can I say? This time Luc Besson seriously deserves a medal. Because The Transporter 2 is so utterly full of clichés or complete craziness that you just have to say to yourself: what the fuck?! Examples: Frank Martin peels off a bomb from the underside of an Audi using a crane - while driving. Frank Martin jumps from building to building like Batman, in a car. And the episode with the jet at the end is just totally kick-ass. You just sit there and gawp. The two stars that it earned from me were for Jason Statham and the perfect black Lamborghini that didn’t even survive the whole movie. Sniff ;-)... Second time round it was much more fun. I had a really good time. Maybe in time I’ll raise it to 3*. ;-) (07/05/2006)

Frank Martin has a new job. Actually, it's an old-new job, but instead of transporting criminals from a bank after a heist, he is now driving a little boy home. If the boy's father agrees to it, why not. Frank receives a simple task - to take the boy to the doctor and bring him back in time for his birthday party. What could be complicated about that? Well, besides the fact that the boy's parents have a rather strict relationship and the doctor is not exactly in the right place. Instead, there are other gentlemen and one quite crazy lady. Luc Besson had fun again with what he enjoys. He included a strong hero, but gave him a strong heroine as an opponent, a crazy woman who looks like she came out of a cyberpunk novel. She is barely dressed, somewhat similar to Mila Jovovich, and I would say she is not far from "La Femme Nikita". But she is also just an employee, even though a deadly one. This is evident in the end, where we get rid of her quite quickly, although it could have been a more exciting fight. However, Frank still needs enough strength to defeat the main villain, a mafia with a funny accent, who perfectly masters martial arts. Not that it matters in the end. The courier is doing his job - he promised to save the boy, and he intends to keep that promise. But the villain's plan is darker than it initially seems. The foreground introduces a substance that is actually a very contagious virus. But we don't have to worry because Frank Martin is not only a good driver, but also a tough fighter, and saving the world is not a problem for him. The film often lacks logic - especially in terms of the risk of infection and the availability of antibodies - but what bothered me the most were the action scenes and some elements. They are just too exaggerated. It looks extremely cool when Frank removes a bomb from the bottom of a car using a crane and a great twist, but it's just a bit too much. It's not the only scene that is far-fetched. There are more of them, and that disappointed me a bit about the movie. If it wasn't so exaggerated, it would be a good action film. But like this, it's just average. More: http://www.filmovy-denik.cz/2012/12/motocyklove-deniky-proposition-v-zajeti.html (03/02/2013)

Your typically stupid production by Luc Besson, where nonsensical action scenes, stupid car dances, and yellowish camera filters outweigh an already flimsy script. The first one was somewhat decent, with an exaggeration that was a pleasant refreshment. The second one is an over-the-top exhibition, and when I see a car jumping from one rooftop to another (and technically messed up at that), it makes me want to puke. Jason Statham hasn't lost any of his charisma and can still handle himself quite well, but that's about all that remains. Miami is a fairly attractive location for filming, and thanks to fast cuts, we occasionally have the feeling that it's another cool action ride, even though it's essentially a huge mess. (06/14/2006)