Premium Rush, a movie that brands itself as a thunderous, fast-paced thrill ride, is a bit of a disappointment. It features some excellent performances, most notably from Michael Shannon, but places them like simple pawns on the city streets, en route a formulaic plot and an unsatisfying, predictable pay-off. There are enjoyable parts in the film where we are amused and intrigued by the characters, their actions and situations, but not enough to sustain a feature-length film.
Joseph Gordon-Levitt stars as Wilee, an enigmatic bike messenger who rides inexhaustibly throughout the streets of New York. The decisions made by the messengers have to be decisive and smart: there cannot be any indecision when looking for a way through traffic, and that’s why Wilee doesn’t have any brakes, period. This is the macho line that sets Wilee aside from the other hardcore messengers, though when we’re talking about bicycles, it seems like mentioning testosterone and competitiveness is a joke in itself. The slow-motion cinematography, implemented during times when Wilee is trying to calculate the best route in, around, and between speeding, dangerous boxes of rationally-assembled metal; arrows appear on the screen, a borderline lazy cinematic technique that could have easily been replaced with some urgent editing; anybody remember “Limitless”, with Bradley Cooper? A cinematographer can express distance miles ahead of where a person stands, and the viewer will understand the message, the size-able amount of land to conquer.
The rule is that once you get the package, you don’t trade or hand it off to anyone except the final destination, the recipient, ot explain who it’s intended for, or where it originated from. Wilee isn’t ready to break that rule, his job principles remaining firm. He takes an envelope from a Chinese college student in intention of delivering it, and is encountered by a nosy man, Bobby Monday, who says nothing of credentials, and for a specifically implicit reason. The story that follows becomes a cat-and-mouse game between Wilee and Officer Monday after Wilee finds out Monday’s occupation while reporting him to his own station. A cop on a bike who doesn’t seem to have been trained along the lines of Mr. Livestrong, adds an ‘aw shucks’ comic-relief, always close to and in pursuit of Wilee but never actually capturing him.
The reasons behind Wilee being a daredevil bike messenger are not revealed through any sort of character development: instead, it is said that he simply does it because he doesn’t want to wear a suit and sit in an office, an explanation reminiscent of the voice-over in Danny Boyle’s “Trainspotting”, a wholly different story, but with the same sort of social futility. The difference, though, is the rebel personalities in Trainspotting have been built up, their every word having an emotional impact. Wilee, for all we know, could just be a lazy, greedy maniac frantically spinning his bike wheels. He’s constantly talking from the blue-tooth device plugged into his ear as he rides, often times trying to repair mistakes while swerving through cars sweeping past him, a 8-bit arcade game brought to life. What a life.
It’s an enjoyable movie at face-value, even for people who shy away from prototypical ‘action movies’; maybe even more for them, as it isn’t any sort of martial-arts or gun wielding spectacle. The acting is solidly consistent and there are some engaging scenes that momentarily hold ones attention–but it’s little more than what the title suggests: a fast-paced pump of adrenaline to the gut, missing anything substantive or interesting for the viewer to keep track of.