Download Film The Transporter 2

Directing duties were split between Louis Leterrier as "artistic director", with Corey Yuen as action director, and The Transporter brings everything Hong Kong action fans love to a French setting. While The Transporter is never short for chases and fights, the movie's shipping container and bus station brawls were what left everyone buzzing, a foreboding, low-key guitar strum underlying Frank punching and kicking tidal waves of henchmen in containers, buses, and an oil spill. Statham had just come off of co-starring with Jet Li in The One the year prior, and if that film foretold Li and Statham's frequent collaborations, The Transporter established Statham as a grizzled, stubbly action hero with a predilection for gravelly one-liners and spinning kicks, and was an outstanding start to the series.

Transporter 2 occasionally dips into a moment or two of the kind of ridiculousness the comic book-esque Fast and Furious franchise has practically patented, specifically when Frank flips his car mid-air to graze a crane and remove a bomb from underneath. Nonetheless, Transporter 2 brings incredible vigor and power to its chase scenes and martial arts fights. The garage fight, in particular, is like a senior class version of the previous film's battle in a similar location, now set to a heart-racing heavy metal soundtrack as Frank holds his opponents at bay with a steel pole, following that up by defeating a second string of enemies with a fire hose. Though it comes in a tad on the short side, Transporter 2 exudes the confidence of the John Wick series as a sequel that knows it's coming off a surprise hit and wants nothing more than to be an even bigger crowd-pleaser. In the best Transporter movies sweepstakes, it's Transporter 2 for the win.

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Brad Curran is a Features Writer and Interviewer for Screen Rant. Brad first joined Screen Rant in 2019, and also contributes to Kung Fu Kingdom. Brad is enamored with epic storytelling in many different genres, and loves stories on both the smallest and the largest scales of filmmaking.

Air Film Transporters from SOLVING can be adapted to suit most applications as it is built up from standard units. Air Film Transporters are of a low profile design and it is small and light in relation to its loading capacity. Maintenance requirements are low as the transporter has few moving parts.

Batman Begins was a reboot. Rise of the Planet of the Apes was a reboot. I know we like to call almost anything a reboot, but there is a difference between a sequel, a remake, and a reboot. For example, Jurassic World is a sequel. Batman Forever is a sequel. Technically speaking, The Transporter: Refueled isn't a reboot either. Yes, it's intended to reignite interest in the franchise, but it doesn't retroactively negate everything that came before it. The only reason it's not being discussed in straight sequel terms is because Jason Statham didn't want to come back and thus Europacorp just went and recast his character. Thus in this new fourth installment, Ed Skrein plays noted "guy who drives other people around and gets into fights" dude who really should have been referred to as "Not Jason Statham" by the film's supporting cast. Casino Royale was a reboot. Live and Let Die was a sequel. And The Transporter is the Live and Let Die of Transporter films. Yet, the question remains, why exactly did the folks at Europacorp decide that this franchise needed to be kept alive without its marquee star?

The reason people saw and/or liked the prior three Transporter movies is because of Jason Statham's genuine star power/screen charisma. Just when old-school action heroes were being supplanted by boy wizards and superheroes, the first Transporter felt like a genuine throwback to 80's style action movies, and Statham looked like a genuine attempt to fashion a new action movie star. The franchise wasn't (relatively) popular because audiences were thrilled by the world in which in inhabited, nor were they dazzled by the world of underground criminal transporting. The franchise was successful because Jason Statham was a lot of fun in them and the surrounding movies (especially the second one) were tolerable enough to justify the ride. But continuing The Transporter without its key component is a lot like making a new Rambo movie without Sylvester Stallone or making a new Die Hard film without Bruce Willis. Without the headliner, it's just another random action movie.

If the Transporter franchise were a super-duper successful action franchise, I could totally understand the powers-that-be wanting to keep it alive even via recasting what is the prime reason for its popularity. When Sean Connery left after his fifth 007 film, the producers had to recast as they were coming off a string of massive hits (Thunderball and Goldfinger both earned over $500 million in adjusted-for-2015 ticket sales) and the Ian Fleming source material and the franchise tropes were arguably enough to keep it going. But let's be honest, George Lazenby didn't work out and it wasn't until Roger Moore's third entry (The Spy Who Loved Me, which followed the genuine flop Man with the Golden Gun) that the franchise escaped Connery's shadow. But here's the rub: The Transporter movies are not all that successful. More importantly, they are not that much more successful than a stereotypical "one-and-done" Luc Besson action movie.

Not adjusted for inflation, The Transporter 3 (Lions Gate Entertainment) earned $109 million worldwide in 2008 while The Transporter 2 (20th Century Fox ) earned $85m worldwide in 2005. The original Transporter (2oth Century Fox) earned just $43m worldwide in 2002. Transporter and Transporter 3 earned $25m and $31m in America while Transporter 2 earned $43m domestic. All of these films cost around $25-$30m to produce. Now those two sequels are the biggest-grossing Luc Besson-produced films on a global basis outside of the Taken films and arguable outliers Lucy and The Fifth Element. But they don't stand out as an uber-valuable franchise that must be saved at all costs. For example, Zoe Saldana's Colombiana earned $61m worldwide. Even the Jimmy Fallon/Queen Latifah caper Taxi sold more tickets in America than two of the three Transporter films, as did Jet Li's 2001 thriller Kiss of the Dragon as well as the ghastly recent Robert De Niro/Michelle Pfeiffer comedy The Family.

Pretty much every Besson-produced action picture costs the same over/under $30 million that Transporter Refueled did and they all do around $50-$60m worldwide, with a few minor outliers. Yes, The Transporter is among those outliers (and it cost just $21m to produce), but not by much and arguably more based on the star+concept sell as opposed to merely the idea of a generic action hero who specializes in getaway driving and constantly breaks his own rules about not getting involved. The Transporter Refueled is a Transporter movie through-and-through, with the only difference being a rather stunning amount of sexism (the film plays like Mad Max: Fury Road written by Men's Rights Activists) and a lack of its signature star. Ed Skrein is fine, but he's every bit the generic would-be new movie star that Hollywood keeps trying to hoist on us and then wonders why there are no new movie stars. I'd even say that this fourth film is superior to the dreadfully dull Transporter 3, and since Olivier Megaton didn't direct the film doesn't look like someone puked orange cat food all over the negative.

But there is no reason this exact same story couldn't have been told under the notion of a "new" action franchise. And the question this weekend is whether or not The Transporter is James Bond or John McClane. I don't pretend to yet know the answer, although I have my suspicions. On the surface, and I'll owe EuropaCorp an apology if this thing clears $120 million worldwide, The Transporter Refueled feels like yet another franchise extension that exists purely because the brand is vaguely recognizable, not because it was popular and/or would-be fans were hungry for another installment. Heck, even Heroes Reborn brought back several of the original cast members for its TV return. The Transporter Refueled is a sequel to be sure, but it is lacking the one thing that people actually gravitated towards in the first three films. Without Jason Statham, Transporter Refueled is a trashy, polished, euro-centric, but wholly generic action thriller, which basically makes it like pretty much every other Besson production over the last couple decades. The question is whether The Transporter needs to exist without its primary selling point or whether it's merely an example of franchise extension for its own sake.

The Transporter is a 2002 action film starring Jason Statham as the title character Frank Martin, an expert driver who specializes in transporting any type of cargo anywhere on time, no questions asked. When one package he was to transport nearly kills him, Frank finds himself on the run from traffickers and the police. The film was co-directed by Louis Leterrier and Corey Yuen from a story by Luc Besson. Statham would return as the Transporter in two more films and the film would also spawn a television series and the 2015 feature reboot The Transporter Refueled.

The lead robber during the beginning of the film, holds a Italian made Pardini PC9 pistol. It is a large match grade target pistol, used in European IPSC style competitions and somewhat unlikely weapon to be carried by a bank robber.

Frank (Jason Statham) acquires a snub-nose Ruger Super Redhawk from the house. It is not a Ruger Super Redhawk Alaskan, as the Alaskan was not released until 2005. The Alaskan also would have a front sight, but also does not have the scope rail mounts of the regular Super Redhawk. This must be a custom Redhawk with a short barrel, or a modified Super Redhawk with a shortened barrel. It is entirely possible that this is supposed to be a stand-in for the Ruger SP101 seen in the film, and that the barrel was simply removed by the armorers on set for this purpose. As unusual as this might seem, hilariously, what appears to be the exact same situation occurred in a French film called Ca$h. e24fc04721