WHAT IT'S ABOUT?
Apparently modest box-office success is good enough for a sequel these days. After watching our hero Chev spend 24 hours keeping his heart going at lightning speed to fight off a deadly poison in the first Crank we now get the High Voltage follow-up which picks up exactly where the story left off. Chev survives a fall to certain death only to wake up three months later to find a Chinese mobster has replaced his all-powerful heart with a battery-operated device that requires constant jolts of electricity in order to stay alive. He escapes and with intermittent charging from car batteries and phone wires embarks on a marathon chase to retrieve his heart and fight off various bad guys including a Mexican gang boss and a group of Chinese triads led by 100-year-old Poon Dong who desires Chev's vital organs (yes even THAT one) for his own purposes.
WHO'S IN IT?
Jason Statham is back as Chev of course displaying the same combination of kickass frenetic action and dumb comedy that marked the first edition. Forced to act the human equivalent of a Road Runner cartoon Statham gives it his all but it's a stretch to say the least. Everyone else plays mainly one-dimensional buffoons including the moronic hyped-up Chinese stereotype from Bai Ling who has been given lines like: "This dude my Kevin Costner and he gonna beat you off" or "You need me like Whitney Houston dude." Apparently the 17-year-old The Bodyguard was the last movie these screenwriters saw. Clifton Collins Jr. (Sunshine Cleaning) seems to revel in overacting the Mexican baddie El Huron while a really old-looking David Carradine destroys any fond memories of Kung Fu as he plays the jokey Poon Dong. Back from the original are Dwight Yoakam literally phoning his part in as the ever helpful Doc and Amy Smart as Chev's hot girlfriend.
It's in focus.
Moviegoers with the stomach to watch nipples and kneecaps being sliced and diced dumb profane dialogue spelled out in graphic letters on the screen in case you're hard of hearing over-the-top acting and sleazy direction — you all will love it. It's a shame to see the usually solid Statham waste his potential in stuff that aims for the lowest common denominator and hits its target.
MOST CREATIVE SEX SCENE IN A JASON STATHAM MOVIE:
The horny and uninhibited Statham and Smart turn the racing track at Hollywood Park into their own personal motel room as they horse around in X-rated style while the betting crowd cheers them on. We're not sure about Win or Place but these two definitely Show.
MOST PROPHETIC LINE:
During outtakes over the end credits Statham blurts out "It's so hard to keep a straight face!" We were thinking the same thing Jason.
NETFLIX OR MULTIPLEX?
Netflix. But you know skip this and rent the first Crank instead where there is at least a modicum of originality.
The Hoover household is something of an insane asylum but nobody would ever knowingly hurt anyone except him- or herself. Richard (Greg Kinnear) is a deluded optimist and motivational speaker who only motivates himself. His wife Sheryl (Toni Collette) unwittingly reinforces his behavior by placating him and hiding her frustration. Sheryl’s dad (Alan Arkin) an acid-tongued old-timer who’s hooked on heroin and brother (Steve Carell) a gay suicidal Proust scholar who is the epitome of the “crazy uncle” cliché are also aboard the crazy train. Richard and Sheryl’s son Dwayne (Paul Dano) is a Nietzsche follower who only communicates with his family by writing. Then there’s the daughter Olive (Abigail Breslin) the family’s glue. All she wants is to compete in the Little Miss Sunshine beauty pageant so the Hoovers all load their baggage onto the family’s VW bus--which barely runs--and embark on a long bumpy ride to California.
If only there were a Best Ensemble Oscar Sunshine’s cast would…get snubbed for being too quirky but still. And by constantly upstaging one another the actors may have further hurt their chances. It is this no ego effect however that is central to the movie’s theme and success. While all the performances are nothing short of superb the three showstoppers are Collette Carell and Breslin. Aussie Collette continues her brilliantly understated career with this turn as a well-meaning Everymom who ultimately only wants to nurture her family. Carell perhaps the only one with a fighting chance at an Oscar nod shows us why he’s really a megastar: he can act with a complete about-face from his usual roles as evidence. (Lest we forget this is a guy who up until recently was a fake-news correspondent!) And Breslin (Signs) is simply an amazing young talent who provides all the wide-eyed caffeine the film needs and then some but does so with precious maturity. It’s as if she inspired the title. There’s a quirky behind-the-scenes story too: Sunshine’s directors--plural--are married to one another! Husband-and-wife duo Jonathan Dayton and Valerie Faris are widely known music-video directors but not the type who would make their big-screen transition with something like say Torque; thankfully they chose substance over style. If not for these very gifted directors Sunshine could’ve come unhinged where so many pedestrian “dysfunctional family” indies do: by turning the characters each with a laundry list of defining quirks into caricatures. But thanks in equal parts to the direction acting and flawless script (from first-timer Michael Arndt) there is so much truth to each character. Most notable though is the linear nature of the story; these directors clearly don’t need swooping twists to convey their themes and profundity and that is rare and remarkable. The climax with which it all culminates can only be described as unforgettable.