By virtue of this crass distinction, the film draws a hasty line between sex work and murderous revenge. The boring portrait drawn is that Anna is pure and good, while Maissa is conniving and evil. The righteous Anna is out to kill the man who forced her into prostitution while Maissa has instead helped him to build his empire. In the opening sequence, the film relies on a hackneyed flashback to establish Anna's motive and to moralize Maissa's.
Reluctance – and Anna's unwillingness to be a sex worker – is supposed to be her main charm, and Delamarre contrasts Anna against the more amenable and street-savvy Maissa (Noémie Lenoir). That is until Anna, a reluctant prostitute (played by a doe-eyed Loan Chabanol) with a vendetta against her boss, swerves him off course. Like Statham's man-on-the-job, Refueled's Frank does his risky work with aplomb, remaining unruffled behind the wheel of his tech-savvy sports car. Even though Delamarre's film is as absurd a spectacle as McCarthy's pratfall-heavy comedy, it takes itself too seriously, with a stiff upper lip – just as its British lead is wont to do. In truth, The Transporter Refueled could take a cue from Spy and learn to lighten up.
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This is the fourth in the improbably long Transporter series, with Skrein replacing Jason Statham, who still has skin in the action-movie game, having recently played a lovable doofus alongside Melissa McCarthy in Spy. But for all its high-speed car chases and extravagant stunts, director Camille Delamarre's reboot of the Transporter franchise is as punctilious as Frank himself – glossy in finish but a little uptight.
Being on time is Frank's raison d'être and an occupational necessity: He is a "transporter," the discreet guy you get to move your precious (contraband) goods from point A to point B along the French Riviera. Dapper in a crisp black suit and sleek watch, Frank Martin (Ed Skrein) keeps company with criminals, MI6 agents and prostitution kingpins, but he gets his thrills from watching the clock.
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