Transporter 3, produced by Luc Besson and directed by Olivier Megaton, is an international product tailored for the American market. Despite its French locales, German cars, and adorably freckled Ukrainian hottie, the hero and villain are both quite American.
The titular Transporter is Frank Martin (Jason Statham), a fighter and driver par excellence who earns a luxurious but lonely existence as an ask-no-questions courier. The events of his two previous misadventures have reformed his amoral ways and loner habits, as evidenced by his collaborative friendship with former nemesis Inspector Tarconi (François Berléand).
So in order for there to even be a Transporter 3, its plot must corral this reformed man into a caper full of opportunities for carnage and lawbreaking. The villainous American Johnson (Robert Knepper) is conceived as Martin’s evil, less evolved twin: a mercenary like him, but unleavened by conscience. His ill-defined plan involves blackmailing Ukranian politician Leonid Vasilev (Jeroen Krabbe) into allowing a giant corporation to import a tanker full of barrels of toxic waste. At one point Martin is menaced by a truck full of the stuff on land, but the tanker hasn’t docked yet. Confusing.
Statham is this generation’s Jean-Claude Van Damme or Steven Segal. He’s already been typecast as the tough loner in a constant series of b-movies (some more B than others, but The Bank Job is a step up), but usually lightens things up with a hint of Jackie Chan-esque self-deprecation. He’s impeccably tailored, lean, and ferociously fit, looking and moving more like a gymnast than the previous generation of slow-moving bodybuilder action heroes. A good drinking game for any Statham film is to drink a shot every time his shirt comes off. You’re likely to get alcohol poisoning in this case.
One of the reasons I enjoy producer Luc Besson’s Transporter franchise is that I dislike being expected to applaud the typical movie action hero that stands back and shoots bad guys from afar. This applies to pretty much any Stallone and Schwarzenegger film, but is also true of even James Bond (in which his fabled license to kill often translates into mowing down rooms full of extras with machine gun fire — or in the case of Moonraker, laser pistols) and Indiana Jones (audiences applaud him for shooting a scimitar-wielding baddie in Raiders of the Lost Ark, but really, is that fair?).
In stark contrast, Martin almost never uses any weapon other than his own physicality. Most of the violence in the Transporter films is in the acrobatic, bloodless rock ’em sock ’em style of kung-fu flicks, liberally seasoned with impressive automobile carnage. The first few minutes of Transporter 3 feature a signature sequence in which Martin dispatches a room full of armed baddies using no tools save his own suit jacket. But I was startled to see Martin actually execute a few evildoers later in the film, something I don’t recall him doing in the previous two. It’s wholly out of character, and spoils the fun.
What dooms Transporter 3 to be the worst of the franchise is that there are simply not enough action sequences, and what few there are are uninspired. I recall only two more notable action sequences: in one, Martin is tethered to his car by an explosive device (just roll with it), and must catch up to it on foot after it is stolen. Later, he launches it off a bridge onto the top of a speeding train, and then from there smashes it into the body of a detached passenger car. For a movie so concerned with car chases, it doesn’t help the audience when most of the vehicles are dictated by product placement to be the same brand (Audi) and color (black with tinted windows).
The awkward, eyebrow-raising ending to Transporter 2 left it up in the air as to whether Martin is gay or just an extreme loner. Surprisingly, Transporter 3 actually revives that question and makes it its key subject. When Vasilev’s hot freckled daughter Valentina (Natalya Rudakova) comes on to him, Martin protests he’s “not in the mood” but certainly, absolutely, positively, no way no how, definitely not gay, how could you even ask, good grief. Well! I guess that settles that question, albeit in a rather disappointingly conventional manner.
So the end of the film finds Martin not only reconfirmed as a good guy, but also in a steady heterosexual relationship. A key component of both the James Bond and Jason Bourne characters is that their greatest loves were murdered, so they choose to be emphatically alone. Where can Besson take Frank Martin in another sequel? Don’t expect Valentina to last long into Transporter 4.