Revolver (Guy Ritchie, 2005)

I don't see what you did there! A little slower, please!

Addictive, restless and wordy introspection fuels Guy Ritchie's colorful, edgy, lively and offbeat exploration of an ex-con with a grudge (Jason Statham), with hair this time around, who looks to outsmart a cautious and powerful bad guy (Ray Liotta). A plot emerges through the intended void of comprehension, as Andre 3000 appears as a smooth-talking loan shark that wants to use Statham.

Pre-established characters offer little personality development; everything feels somewhat empty as a result. Statham is (as usual) the bold and tenacious protagonist, but his hollow personality leaves much to be desired. Somehow, he is cerebral enough to be a wiz at chess, but is easily confused by comparatively far simpler conundrums. A chat with Guy Ritchie would be desirable, though I wouldn't be surprised if the puzzling nature of this film was still too abstract for me to understand.

The concept of chess teases the audience at being a major theme along with wise sayings. The obligatory flood of details makes following Statham's plight quite a challenge. The development of the high-octane story is so frenetic, one must pay attention and maintain it or lose all hope of understanding things. In the windstorm, character substance clearly suffers.

Embracing its jarring nature that often feels overloaded, Revolver manages to be fascinating despite its eccentricity and lack of conventional appeal. Quick camera cuts and zany comic book interludes cripple the viewer's ability to relax. Revolver amounts to being a refreshing and diverse phenomenon, offering action (a given, considering Statham's presence, although on a much lesser scale), a strange sense of humor and gritty street-talk.