Country: France & USA
Language: English, French & Mandarin
Runtime: 92 minutes
Original Release: 11th October 2002 (USA)
UK Release: 17th January 2003
First Seen: DVD, c.2003
Frank Martin is “The Transporter”, a driver for hire who moves people and goods, no questions asked. He never looks inside the package… until, on one job, the package moves. Finding a young woman gagged inside, Frank winds up embroiled in her rescue from some very bad men.
Frank Martin, expert driver (he’s the titular transporter after all) and martial artist, as handy with his fists as he is with a steering wheel. Lives by a simple set of rules… which he breaks, because it’s a movie and it needs a plot.
Darren “Wall Street” Bettencourt, an American gangster who initially hires Frank, then tries to kill him — even though he did a good job! And you thought people who left unnecessarily low feedback on eBay were a pain.
Best Supporting Character
Inspector Tarconi, the local police detective who’s on to Frank but can’t prove anything. Comes through in the end, becoming Frank’s ally in the sequels.
“Rule #1: never change the deal.” — Frank
Oil everywhere + people wanting to fight = ingeniously slippery combat. Seriously, that one scene is the main reason the entire film is here.
Jason Statham did most of his own stunts, fighting, and driving. That included learning martial arts to supplement his kickboxing abilities and, for one sequence, actually hanging off the bottom of a truck with just a wire up his leg for safety.
Letting the Side Down
The trailer showed Frank deflecting a missile with a tea tray. A missile. With a tea tray. It was removed from the final cut because Statham didn’t think audiences would believe it, but c’mon, this is an action movie, and that’s silly-awesome. I mean, deflecting a missile… with a tea tray!
The oil in the famous fight scene is actually molasses syrup. Apparently it was very sticky, which is kind of the opposite to its purpose in the film, but that’s movie magic for you.
Two direct sequels of typically decreasing quality; a spin-off TV series that ran for two seasons; and a reboot movie last year, which went down badly but I quite enjoyed (for what it was). Plus: a mini-empire of similarly-styled Euro-produced English-language action movies masterminded by Luc Besson, the most famous of which is the Taken series.
What the Critics Said
“Post-Ghosts Of Mars, if anyone had suggested that big, bald, brusque Jase could hold his own as an action hero, they’d have been laughed out of town. And while he doesn’t exactly deliver an acting masterclass (his ‘American’ accent doesn’t quite stand up to the rigours of actually opening his mouth and talking), this is all about kicking ass and taking names. […] The spirit of Hong Kong action movies hangs heavily over The Transporter, most notably in the CG-free fight scenes which, thanks to former fight choreographer Yuen, have enough zing and originality to satisfy even Hong Kong aficionados. […] simultaneously the best (the fight scenes) and worst (everything else) action movie of the year. Destined for drunken Friday night rental heaven.” — William Thomas, Empire
What the Public Say
“The Transporter doesn’t hold up as well on a rewatch as I would have hoped. It’s a bit stop-start and the ending didn’t feel as BIG as it should have been. At the same time, it has a couple of outstanding scenes and no review of this film is complete without a reference to and expression of WTF?! about the now infamous oil-slick fight scene. Truly a marvel of film thinking, then perfectly executed. […] The Transporter is exactly the kind of daft film that Hollywood became ashamed of making — and it really shouldn’t have.” — Steve G @ Letterboxd
The Transporter is neither big nor clever. In terms of the former, it’s a relatively small-scale, low-key action movie, not some Hollywood extravaganza; and in terms of the latter, it’s a relatively small-scale, low-key action movie, so of course it’s not been pumped full of brains. Instead it’s pumped full of adrenaline, with a brisk running time that serves up impressively choreographed action at a solid rate, with an amenably light tone in between the combat. It also made an action star of Jason “The Stath” Statham, which I’m sure some people would thank it for. It certainly brought down the average age of participants in The Expendables.
#95 is… indestructible.