Wheelman

Szolid adrenalin adag, tomboló BMW és Porsche gépek hatalmas hangjával, éles lövöldözéssel és gazfickókból álló csapattal, akik ugyan nem nagyon láthatóak, ám a fő (jóságos) gazfickónak azért egy meglehetősen stresszes éjszakai utazást készítenek elő. Egyszerűbb és egyenesebb, mint a pszichológiai Locke - Nincs visszaút vagy az art művészeti Drive - Gázt! mozi, ám ahhoz képest, hogy az akciófilm szinte teljes egészében csak egy autóban játszódik, rendkívül lebilincselő. A vizuális különlegességet és a főszereplő helyzetébe jobb elmerülést segíti, hogy a kamerák kizárólag az autó belsejében vagy vezetés közben a motorháztetőn lévő pontokról veszik fel a felvételeket. (2020.07.29)

Netflix has been really going full throttle lately, churning out one film after another. You might think that with such a high quantity, the quality might not be exceptional, but the opposite is true. Jeremy Rush managed to make a film with one quality actor, a top-notch machine (of course, a powerful BMW), and a story that builds up impressively. While it might not be listed in any chronicles as the greatest, it keeps you engaged because it has genuine drive, and you simply want to know how it ends. Frank Grillo shone in his role; it’s tough playing the lead, especially in a film where the audience's eyes are almost solely on you, as there’s almost no one else in the cast. The story isn’t particularly original, but the film relies on one thing: the camera. I haven’t seen such an interesting camera work in a long time, which gives the film dynamism and an extra punch with its unique style. True, the film started to lose momentum towards the end because the script is rather average, but the ending, featuring a nostalgic Porsche, brought it back to a solid rating for me. When something original and high-quality comes along, I can appreciate it. I give the film 73%. (2017.12.14)

A suspenseful genre piece that almost never leaves the vicinity of the car, with the great Grillo in the main role. In places, this reminds of Spielberg’s Duel with its uncompromising atmosphere. Moreover, it’s excellently written and the story seems believable; that doesn’t often happen in the movies of this day and age. An unexpected wowza. (2017.12.03)

Locke meets a successful variation on Getaway (2013) or more earthy (Baby) Driver, in which the form does not crush the content. And even the form is not that bad. It more that well gets by only with one night, empty streets, interiors of two cars, completely unused hands-free set and a stubborn Grill. The concept is so minimalist that there´s a risk of becoming bored of it. Fortunately, Rush is aware of this risk and so he chose more than reasonable footage and pace, i.e. so no worries, you won´t be annoyed. (2017.10.23)

A nice surprise and Frank Grillo fans beware, he's not off camera for a second. Wheelman is a very minimalist film set 90% in a car, but Tom Hardy has already proved that it can work in Locke. Grillo is a proper badass and I ate up his role hook, line and sinker. I liked how much tension and twists could be mined from mere phone calls, but of course there are chases and a few dead bodies dropped as well. Satisfaction for me, I couldn't have expected more from Jeremy Rush's debut. A small, suspenseful, very gritty, and decent film. 75%. (2017.10.21)