Boisterous action ensues when colourfully tattooed extreme sports fanatic Xander Cage is press-ganged into the service of the US government. Rob Cohen directs with brutal bravado, there are some amazing stunts, and the whole thing is noisily entertaining. Vin Diesel's Xander, though, is no match for Kurt Russell's Snake Plissken, and a touch of John Carpenter's genuine anarchy would have been welcome.
Jesse Malin
THE BORDERLINE, LONDON
TUESDAY JANUARY 21 2003
"Just wait til see you me with my fuckin' band, man," Jesse Malin had said backstage at the Royal Festival Hall, after opening solo and acoustic for Ryan Adams last November. And he wasn't kidding.
He's flanked by two razor-sharp dudes who look like they walked out of a remake of West Side Story, but turn out to be bassist Johnny Pisano and guitarist Johnny Rocket. It may just be a trick of the light, but keyboardist Joe McGinty is sporting what looks suspiciously like a black eye.
Since The Last Seduction, John Dahl hasn't quite delivered the skilful thrills we hoped for. This pacy revamp of Duel and Breakdown is a lunge in the right direction, though. Paul Walker, Steve Zahn and Leelee Sobieski star as brash young things who turn yellow when a trucker they've taunted chases them cross-country, vengeance in mind. Fast and furious.
It's not hard to see why the second version of Hollywood's infamous morality tale of the tortured love between a rising starlet (Judy Garland in her best role outside of Oz) and her older, alcoholic has-been suitor (the impeccable James Mason) is generally regarded as the best. George Cukor's Technicolor palette and Ira Gershwin's music are the ideal accoutrements for what is basically camp melodrama at its most sumptuous.
