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“The Mechanic,” Reviewed

“The Mechanic,” Reviewed (photo)

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There’s a lot to like about Jason Statham, but here’s what I like best: he’s bald.

We do not have enough bald action stars. Being an action star involves too much vanity, and too much vanity leads men to wear too much fake hair. Even Sean Connery, bald as a baby’s bottom, wore a piece to play James Bond (you’d know in his later career when Connery was playing a “serious” role when the toupee came off). There are a lot of male movie stars out there — I don’t need to name names, you know who they are — whose hairlines somehow move forward with age instead of backward. It’s as if these guys are so convinced of their superiority that they can’t allow themselves get older like the rest of us mere mortals.

Statham is not that sort of star. He’s been balding since he started in movies in the late 1990s, and now he’s pretty much barren up there. The fact that he’s comfortable enough with himself to be bald onscreen speaks to the sort of persona he’s developed: tough, dependable, immune to extravagance or self-indulgence. Like the men he typically plays, Statham knows exactly who he is and is comfortable with what he does. And what he does is make small but satisfying thrillers like “The Mechanic,” a lean, no-frills midrange action picture of the kind that Hollywood and its outliers used to make by the gross in the 80s but have recently fallen casualty to modern moviemaking’s economies of scale, which demand B-movies with A-budgets.

In “The Mechanic,” Statham plays Arthur Bishop, an expert assassin for a nebulous company called, nebulously, “The Company.” Odd how the organizations in these sorts of black ops movies are always unnamed — don’t the assassins get confused which unnamed company they’re working for? Maybe that’s the point. You can’t ever rat anyone out because you don’t know who to rat on. Must be a nightmare come tax time.

Anyway, most movies about lone assassins tend to play up their hero’s solitude and anguish. They examine what it must be like to kill people for a living, and consider the toll it takes on a man’s psyche. Not “The Mechanic.” Bishop seems quite content living in his beautiful home in the bayous near New Orleans. Even when his boss (Tony Goldwyn) gives him an assignment he doesn’t want to take for reasons I won’t spoil, he goes through with it anyway. At that man’s funeral, he meets his victim’s son Steve (Ben Foster). Angry over his father’s death and unaware that Bishop is responsible, Steve convinces “the mechanic” (he “fixes things,” you see) to teach him to be an assassin. Bishop agrees but warns his pupil never to let emotion or vengeance get in the way of the job which, in a movie, is a surefire guarantee that before long emotion and vengeance will get in the way of the job.

Though Statham delivers exactly what we’ve come to expect from him, Foster really surprised me in this movie. He approaches his part as if he’s in a moody indie character study of grief and loss and not a Jason Statham vehicle about dudes who use garbage trucks as deadly weapons. A lot of actors in his situation (maybe some of the ones who have the really bad hair) would have gone over-the-top in depicting Steve’s depression. Foster bottles it all up, and is convincingly scary as a kid boiling with anger with no way to release it.

Nothing about the plot of “The Mechanic” is surprising. We predict a double-cross almost from the beginning, and there is one. We know Steve will ultimately discover the truth about Bishop, and he does. But the film, directed by “Con Air”‘s Simon West, is made with intensity and skill. The fight scenes are dramatic and Bishop and Steve’s assassination schemes are entertainingly clever. I wish the story didn’t require the usually brilliant Bishop to act like a moron in one particular moment, but whatever.

Of course, Statham is rock solid as always, delivering all the requisite ass kickings and over-the-shoulder glowers (nobody glowers over their shoulder quite like Jason Statham). I feel more comfortable forking over my twelve dollars for a movie by Statham than I do for a movie by just about anyone else. He never disappoints me. Time and again, he gives me my money’s worth. Two “Crank” films, three “Transporter”s, “The Bank Job,” “Death Race,” “Cellular” and on down the list. He’s really only made one truly unwatchable movie, Guy Ritchie’s “Revolver.” Interestingly, that’s the one movie he’s made where he didn’t play a bald guy. Coincidence?

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Bro and Tell

BFFs And Night Court For Sports

Bromance and Comeuppance On Two New Comedy Crib Series

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“Silicon Valley meets Girls meets black male educators with lots of unrealized potential.”

That’s how Carl Foreman Jr. and Anthony Gaskins categorize their new series Frank and Lamar which joins Joe Schiappa’s Sport Court in the latest wave of new series available now on IFC’s Comedy Crib. To better acquaint you with the newbies, we went right to the creators for their candid POVs. And they did not disappoint. Here are snippets of their interviews:

Frank and Lamar

via GIPHY

IFC: How would you describe Frank and Lamar to a fancy network executive you met in an elevator?
Carl: Best bros from college live and work together teaching at a fancy Manhattan private school, valiantly trying to transition into a more mature phase of personal and professional life while clinging to their boyish ways.

IFC: And to a friend of a friend you met in a bar?
Carl: The same way, slightly less coherent.

Anthony: I’d probably speak about it with much louder volume, due to the bar which would probably be playing the new Kendrick Lamar album. I might also include additional jokes about Carl, or unrelated political tangents.

Carl: He really delights in randomly slandering me for no reason. I get him back though. Our rapport on the page, screen, and in real life, comes out of a lot of that back and forth.

IFC: In what way is Frank and Lamar a poignant series for this moment in time?
Carl: It tells a story I feel most people aren’t familiar with, having young black males teach in a very affluent white world, while never making it expressly about that either. Then in tackling their personal lives, we see these three-dimensional guys navigate a pivotal moment in time from a perspective I feel mainstream audiences tend not to see portrayed.

Anthony: I feel like Frank and Lamar continues to push the envelope within the genre by presenting interesting and non stereotypical content about people of color. The fact that this show brought together so many talented creative people, from the cast and crew to the producers, who believe in the project, makes the work that much more intentional and truthful. I also think it’s pretty incredible that we got to employ many of our friends!

Sport Court

Sport Court gavel

IFC: How would you describe Sport Court to a fancy network executive you met in an elevator?
Joe: SPORT COURT follows Judge David Linda, a circuit court judge assigned to handle an ad hoc courtroom put together to prosecute rowdy fan behavior in the basement of the Hartford Ultradome. Think an updated Night Court.

IFC: How would you describe Sport Court to drunk friend of a friend you met in a bar?
Joe: Remember when you put those firecrackers down that guy’s pants at the baseball game? It’s about a judge who works in a court in the stadium that puts you in jail right then and there. I know, you actually did spend the night in jail, but imagine you went to court right that second and didn’t have to get your brother to take off work from GameStop to take you to your hearing.

IFC: Is there a method to your madness when coming up with sports fan faux pas?
Joe: I just think of the worst things that would ruin a sporting event for everyone. Peeing in the slushy machine in open view of a crowd seemed like a good one.

IFC: Honestly now, how many of the fan transgressions are things you’ve done or thought about doing?
Joe: I’ve thought about ripping out a whole row of chairs at a theater or stadium, so I would have my own private space. I like to think of that really whenever I have to sit crammed next to lots of people. Imagine the leg room!

Check out the full seasons of Frank and Lamar and Sport Court now on IFC’s Comedy Crib.

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Millennial Wisdom

Charles Speaks For Us All

Get to know Charles, the social media whiz of Brockmire.

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He may be an unlikely radio producer Brockmire, but Charles is #1 when it comes to delivering quips that tie a nice little bow on the absurdity of any given situation.

Charles also perfectly captures the jaded outlook of Millennials. Or at least Millennials as mythologized by marketers and news idiots. You know who you are.

Played superbly by Tyrel Jackson Williams, Charles’s quippy nuggets target just about any subject matter, from entry-level jobs in social media (“I plan on getting some experience here, then moving to New York to finally start my life.”) to the ramifications of fictional celebrity hookups (“Drake and Taylor Swift are dating! Albums y’all!”). But where he really nails the whole Millennial POV thing is when he comments on America’s second favorite past-time after type II diabetes: baseball.

Here are a few pearls.

On Baseball’s Lasting Cultural Relevance

“Baseball’s one of those old-timey things you don’t need anymore. Like cursive. Or email.”

On The Dramatic Value Of Double-Headers

“The only thing dumber than playing two boring-ass baseball games in one day is putting a two-hour delay between the boring-ass games.”

On Sartorial Tradition

“Is dressing badly just a thing for baseball, because that would explain his jacket.”

On Baseball, In A Nutshell

“Baseball is a f-cked up sport, and I want you to know it.”


Learn more about Charles in the behind-the-scenes video below.

And if you were born before the late ’80s and want to know what the kids think about Baseball, watch Brockmire Wednesdays at 10P on IFC.

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Crown Jules

Amanda Peet FTW on Brockmire

Amanda Peet brings it on Brockmire Wednesday at 10P on IFC.

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GIFS via Giphy

On Brockmire, Jules is the unexpected yin to Jim Brockmire’s yang. Which is saying a lot, because Brockmire’s yang is way out there. Played by Amanda Peet, Jules is hard-drinking, truth-spewing, baseball-loving…everything Brockmire is, and perhaps what he never expected to encounter in another human.

“We’re the same level of functional alcoholic.”


But Jules takes that commonality and transforms it into something special: a new beginning. A new beginning for failing minor league baseball team “The Frackers”, who suddenly about-face into a winning streak; and a new beginning for Brockmire, whose life gets a jumpstart when Jules lures him back to baseball. As for herself, her unexpected connection with Brockmire gives her own life a surprising and much needed goose.

“You’re a Goddamn Disaster and you’re starting To look good to me.”

This palpable dynamic adds depth and complexity to the narrative and pushes the series far beyond expected comedy. See for yourself in this behind-the-scenes video (and brace yourself for a unforgettable description of Brockmire’s genitals)…

Want more about Amanda Peet? She’s all over the place, and has even penned a recent self-reflective piece in the New York Times.

And of course you can watch the Jim-Jules relationship hysterically unfold in new episodes of Brockmire, every Wednesday at 10PM on IFC.

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