‘Transporter 3’: Clothes can’t make the movie
New York Times News Service
Aspen, CO Colorado
To chart the differences between “Transporter 3″ and its two predecessors is as pointless as trying to parse its flimsy plot. As in this B-movie franchise’s previous installments ” the streamlined “Transporter” and the somewhat bulked-up “Transporter 2″ ” that pretty bit of rough, Jason Statham, stars as Frank Martin, a taciturn hard-body for hire who, when not lolling around his swank Mediterranean bachelor pad or palling around with his police buddy (Francois Berleand), racks up kilometers ferrying valuables across borders and genre imperatives in his sleek ride.
This time there’s a new director (Olivier Megaton) and some different nubile flesh (Natalya Rudakova), but much remains the same, just with a longer running time.
As usual, the marital-arts choreographer Cory Yuen, who also directed the first movie, cooks up some lively fist-to-face brawls, several of which make amusing use of Frank’s natty tailoring and body sculpting. Most men just wear their suits and some suits wear the men, but Statham actually turns his industrial-strength threads into a lasso, a weapon, a shield.
Though the car chases have grown more banal as the franchise has started to run on fumes, the smackdowns have retained their zing, partly because of Yuen and partly because Statham never looks better than when he’s taking aim at a group of men with his bullet head and a suit that ensures he’s dressed to kill.
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This summer the Aspen Music Festival is emphasizing this discovery track more than before, as the 2021 season marks the launch of its initiative to spotlight diverse composers who identify as AMELIA (African-American, Middle Eastern, Latin, Indigenous, and Asian).