Premium Rush
starts with a bang-whoosh, revs up the adrenaline with a dynamic camera
following a bike messenger through the streets of New York City, and kicks up
the rock soundtrack. Then it doesn’t let up for the next 90 minutes. Just when
you think you’ve settled into a groove along with the story, it throws you for
a loop by doubling back on itself to fill in some crucial piece of story
information. A digital clock appears on the screen to let you know what time it
is or was. Then just as suddenly it whizzes you back into the present.
The hero of this thriller that makes inventive use of
different ways of staging a bike chase is Wilee (as in that cartoon coyote that
gets knocked down again and again, but just keeps coming back for more
punishment). He speeds through Manhattan on a bike with no gears and no brakes.
This metaphor for how he lives his life (he’s a graduate of Columbia Law who
just can’t bring himself to take the Bar and spend his life behind a desk) gets
hammered home a little hard, but the overall lack of subtlety in the screenplay
by David Koepp and John Kamps is barely noticeable amid the breakneck pacing
that Koepp sets in his role as director.
Wilee takes a job picking up an envelope from his
girlfriend’s roommate at Columbia. The delivery is promptly before 7:00pm at a
restaurant in Chinatown. The girl who gives him the envelope is nervous and
hesitant to give up whatever its contents are. Before leaving campus, Wilee is
accosted by a man who has a suspicious way of trying to acquire the envelope. Then
the first chase begins which involves Wilee on two wheels, pursued by a man in
a car. Later chases will involve two bicycles, then pedestrians. The plot
details seem odd at first and you’re likely to be scratching your head, but the
answers are slowly filled in with flashbacks. Without revealing too much, we
learn the man who wants the envelope is a dirty cop with a gambling debt; the
girlfriend, Vanessa (also a messenger), is being pursued by their colleague and
Wilee’s rival, Manny; Nima, the roommate didn’t accidentally choose Wilee as
the delivery man. More than that I won’t say.
Besides some serious effort and stunt work on a bicycle,
Joseph Gordon-Levitt doesn’t have to bring a whole lot to the role of Wilee. He
brings his usual charm and devil-may-care attitude, but the demands the
screenplay places on his as an actor are light. There’s no discounting the fact
that he put himself through the back window of a taxi and required more than 30
stitches in his arm, however. Michael Shannon is the bad cop trying to get the
goods. He’s unfortunately sort of typecast now as a wild-eyed lunatic. He chews
up the scenery a little too much this time. Dania Ramirez and Wolé Parks as
Vanessa and Manny have the necessary athletic look and cut muscle tone. Their
hard bodies glisten with sweat and they look great, but the movie asks even
less of them than its star.
The weak characterizations notwithstanding, the plot is
reasonably intriguing and Koepp’s presentation is original, energetic, and
keeps the excitement up. He’s got several tricks he employs including the use
of an on screen maps app to illustrate Wilee’s routes and a visual
representation of what goes on in his head when faced with several alternatives
to weave through traffic and pedestrians. It’s a perfect pictorial of what goes
on in my own head when I walk through a crowd, ride a bike, or drive a car on
the highway. Koepp may employ these occasional digital toys to spice up the
movie, but most of what he shoots is – by appearances anyway – devoid of
computer magic. The stunts and the obstacles are real as far as the eye can tell.
That suggests something very positive either about the state of digital
animation or of the propensity (for now at least) of filmmakers to avoid
digital manipulation wherever possible.
You probably won’t walk away from Premium Rush feeling like you can’t wait to see it again and after
several weeks most of the details are likely to fade into obscurity, but for
the moment it works. Sometimes, out of desperation perhaps, we yearn for
well-made action films that don’t demand too much. It won’t knock your socks
off, but I can think of countless less enjoyable ways to spend 90 minutes.
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