![]() ![]() The colours are extraordinarily vibrant, artificially so, resembling the aesthetic Michael Bay often goes for in his Transformers films and Pain and Gain, the latter which was also set in Miami, interestingly enough. ![]() Even the cinematography and colour palette strongly suggest that this second entry in the series aims for an even more cartoonish, bright comic book feel than the original did. The returning trio of director Louis Leterrier and screenwriting duo Luc Besson and Robert Mark Kamen (Corey Yuen is missing in action for this round) take the devil may care attitude of the original film’s second half and apply it right from the get go in Transporter 2. In the previous film, there was a clear increase in the intensity of ridiculousness as the movie jumped, sprinted and punched its way to a amazingly silly finale that shun what little sense of reality its first half had established. They hold Jack for ransom, but behind the scenes are prepping a deadly, injectable virus that will be exposed through Jack and into Jefferson who is to shortly host a conference with the worlds leading personalities from the medical community. Frank has, rather surprisingly, developed something of a rapport with the youth, which prompts him into action on the day the boy is kidnapped by ostentatious villainess Lola (Kate Nauta), working under the auspices of her lover Gianni Chellini (Alessandro Gassman). The Billings have hired Frank a month ago to drive their young son Jack to and from school. This time, it is Audrey (Amber Valleta), beautiful wife to brilliant doctor Jefferson Billings (Matthew Modine), who opines over the rugged entrepreneur. In very James Bondian fashion, the previous film’s leading lady is nowhere to be found. Frank still offers his services privately to whomever is willing to pay, only now he has established himself in Miami. It took three full years for Frank Martin (Jason Statham) to make his return to the silver screen following the modest success that was The Transporter in 2002, but not a lot had changed in the interim, notwithstanding a few cosmetic details. ![]() Written by Luc Besson and Robert Mark Kamen ![]()
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