FILM REVIEW OF ''RIDER ON A DEAD HORSE" (1962)

Herbert L. Strock directed enough episodes of television shows like “Cheyenne,” “Sugarfoot,” “Bonanza,” “Maverick,” “Colt. 45,” and “Bronco” to know his way around westerns.  The low-budget oater “Rider on a Dead Horse,” (*** OUT OF ****) starring John Vivyan, Bruce Gordon, Kevin Hagen, and Lisa Lu, is an ironic, entertaining, black & white sagebrusher about avaricious prospectors, savage Apaches, a cunning bounty hunter, and a desperate Asian woman who wants to go to San Francisco.  Some critics have compared it with a Spaghetti western because the villain shoots first and doesn’t ask questions afterwards.  One of characters is a bounty hunter without compunctions.  The action occurs largely in stark, rugged, inhospitable terrain like Euro-westerns in Spain, and greed is a pervasive theme as it is in Italian westerns.  The title tune is rather lame.  Frank V. Phillips’ cinematography is crisp, clear, and evocative.  Like Strock, Phillips confined himself primarily to television shows for the most part of his career.  He lensed his share of western television shows, too.  Lucy Lu plays an English speaking girl from Canton who claims that he knows how to handle men.  She has been living out west for three years.  A current of racism courses through this western.

The two gritty prospectors—Barney Senn (Bruce Gordon of “The Buccaneer”) and Adam Hayden (John Vivyan of “Imitation of Life”)--are pretty handy with their six-shooters. Barney is particularly good with his revolver.  After he pays off their African-American partner, Sam Taylor (Charles Lampkin of “Twilight of Honor”), Barney brandishes his Colt’s revolver and shoots Sam in the back without a qualm as the unsuspecting African-American rides away with two bags of gold.  Barney doesn’t display a shred of remorse for murdering poor old Sam in cold blood.  This western draws its grim title from its title sequence that depicts Sam’s corpse clinging to its horse as the steed gallops throughout the credits before gravity detaches Sam’s body from the animal.  Afterward, a cautious Hayden inquires if he is next.  Barney seats his six-gun in his holster and reminds Hayden that he would be lost without Hayden.  “Why I couldn’t go ten miles in this broken country without getting lost.”  They carry out forty pounds of gold a piece.  Hayden and Barney break camp.  Hayden explains that Apaches have been watching them since they came out to prospect for gold.  He points out smoke signals rising from mountain tops between them.  Hayden recommends that they strip everything that they can live without to stay ahead of the savages.  They unload their rifles and smash them.  I didn’t think that was very smart.  Not only do these hombres shatter their long guns, but they also turn their horses loose and set off on foot to the town of Lost River.  

Later, greed gets the best of them during their journey to evade the Apaches.  They tangle with each other in a tough fistfight when they spot Sam’s horse.  The fistfight is imaginatively staged with perspectives from each man’s point of view during the slugfest.  After their fight, Barney wings Hayden, leaves him for dead, and rides off to town.  A thirsty, woebegone Hayden stumbles through the desert and encounters a friendly Asian girl, Ming (Lucy Lu of “One-Eyed Jacks”), at a railway work camp.  She is an entertainer.  She nurses him back to health because Hayden assures her that he has money.  Ming wants half of Hayden’s money.  She tells him that her name means ‘Perfect Flower.’  Meantime, murderous Barney cuts a deal with Jake Fry (Kevin Hagen of “Gunsmoke in Tucson”), a bounty hunter of sorts, to help him capture Hayden and see him strung up.  Barney double-crosses Hayden, frames him for Sam’s death, and tells Jake that Hayden has a thousand dollars on his head.  Jake decides to set out in pursuit of Hayden.  Hayden tells Ming, “A man with a gun is all the law he needs.”  Reluctantly, Hayden agrees to buy Ming a ticket for San Francisco.  What sets Ming apart from most women in westerns is her ability to stand up for herself and take what she wants.   Before Ming and Hayden set off for Lost River, Hayden demands that she return his firearm.  What Hayden doesn’t know is that Ming has removed the bullets from his gun.

As they are trudging through desert, Hayden sneaks up on Jake and gets the drop on him.  Unfortunately, Hayden discovers that he is packing a pistol without bullets, and Jake—“just a business man”—takes Hayden into custody.  Ming knows that money is the only thing that “impresses” Jake.  Hayden explains that they extracted $200-thousand out of their gold mine and Barney back-shot Sam.  Jake cuts another deal with Hayden and decides to ride out after Barney and the gold with dynamite as their secret weapon to use against the Apaches.  At the same time, he lights a fuse to a stick of dynamite that will blast Hayden to death.  Resourcefully, Hayden manages to defuse the TNT and reconfigure it to blast open his cell block door.  When Ming tries to stab Jake, the bounty hunter forces her to leave, and she finds Hayden who has escaped from Frye’s calaboose.  Hayden gets the drop again on Frye and leaves him with one bullet but enough dynamite to blow half of the Apaches off the mountain.

“Rider on a Dead Horse” reminded me of existentialist westerns like Budd Boetticher’s Randolph Scott oaters and Monte Hellman’s two Jack Nicholson horse operas.  The finale is reminiscent of “Treasure of the Sierra Madre.”  “Silver River” scenarist Stephen Longstreet derived his savvy screenplay from James Edmiston’s story who wrote the westerns “Day of Fury” and “Four Fast Guns.”  The dialogue is serviceable and sometimes clever. Uneasy alliances between men and women who don’t trust each other shift back and forth throughout this gritty western that turns out to far better than you’d think.

FILM REVIEW OF "A TRAIN FOR DURANGO" (Italian-Spanish 1968)

Despite its many shoot-outs and high body count, "Bullets Don't Argue" director Mario Caiano's "Train from Durango" (**1/2 OUT OF ****)  is an early Spaghetti western comedy with lots of men dying. The Mario Caiano, José Gutiérrez ("The Hellbenders") Maesso, and Duccio ("The Ballad of Death Valley") Tessari screenplay resembles some of Sergio Leone's "For A Few Dollars More." In the Leone western, the outlaws hijacked a safe from a bank, but they cannot open it up without destroying the money, so Lee Van Cleef's Colonel Mortimer applied his skills as a craftsman to open the safe for a percentage of the loot. The heroic duo in "A Train for Durango" are out to accomplish a similar feat for a gang of revolutionaries. Caiano's film represents an example of those Italian westerns like Sergio Corbucci's "The Mercenary" that occurred during the Pancho Villa-led revolution in Mexico against the dictator President Diaz, so the appearance of an early model car driven by one of the protagonists is perfectly legitimate. The suspense evolves over whether or not this duo can survive their encounters with the gang. "A Train for Durango" contains several surprises at the outset, during the action, and at the end. Although the villainous outlaws are cretinous, they are also quite murderous and kill without a qualm. This supplements the suspense about whether or not our heroes will survive.

Two hard-luck drifters—an American and a Mexican—sell their horses and their six-shooters to catch a train to Durango. Not only do they not know the train carrying a huge safe filled with government loot, but also that a gang of bandits is aboard the train. The American, Gringo (Anthony Steffen of "The Stranger's Gundown"), strikes up a friendship with a beautiful woman, Helen (sexy Dominique Boschero of "Ulysses against the Son of Hercules"), doesn't seem to mind that Gringo hasn't taken a bath in ages. She informs him that since she's come to Mexico that she has grown accustomed to the stench of unwashed bodies. She offers him a cigar, and he winds up taking the case of cigars.

Meanwhile, Gringo's Mexican friend, Lucas (Enrico Maria Salerno of "The Warrior Express"), wanders throughout the train. Sneaking up on passengers, he gobbles mouthfuls of their food when they aren't paying attention or outright steals their chow. The bandits go searching for him when he arouses their suspicion. Meantime, when the train stops at a depot, Lobo (Roberto Camardiel of "The Big Gundown") and his army of bandits make their move. First, they kill all the passengers. They shoot Gringo, but the bullet embeds itself in the cigar case concealed under his shirt. Second, one of Lobo's henchmen, Heraclio (José Bódalo of "Ringo's Big Night") abducts Helen. Third, his gang of bandits transfers the government safe from the train to a wagon and hauls it away. Meanwhile, Lucas has eluded the bandit's and survived the massacre. Gringo and he find the keys to open the safe on the bodies of the murdered Americans. They decide to follow Lobo and his army of gunmen. They know that Lobo's bandits don't have the means to open the safe, and they propose a deal with one of Lobo's men to open the safe in return for splitting the booty.

The dreams that our heroes have prove ephemeral. A Lobo follower takes them captive and tries to obtain the key from them. First, he plants them up to their necks in the ground and places a pot over their heads which he bangs on to drive them crazy. Second, when the first option falls through, he has his men ride over them. The American produced but Spanish lensed "Guns of the Magnificent Seven" used this form of torture. Another American, Brown (a mustached Mark Damon of "The Fall of the House of Usher"), shows up earlier driving a car. Later, he appears at an opportune moment to wipe out the group of horsemen about to ride down on our hapless protagonist while they are buried up to their chins in the ground. Brown amounts to a kind of guardian angel for them. He intervenes later on during a night-time gun battle, careening into the scene and lobbing explosives at the villains Mexicans trying to kill our heroes.

Helen suggests that they use a small cannon to blow the safe open. When the cannon ball strikes the safe, it blasts it through the adobe hut that the safe was setting in front of and doesn't make a dent in the safe. Gringo and Lucas show up immediately after and try to infiltrate the gang. Lobo's second-in-command remembers that he shot Gringo and
our heroes have a close shave escaping from the bandits. Brown keeps showing up and helping Helen as well as our heroic duo get out of one scrape after another with their skin. Eventually, at the ending, Caiano and his scribes shed light on Brown's reason for repeatedly popping up at the worst possible moment to rescue out heroes.

Anthony Steffen and Enrico Maria Salerno make a charismatic heroic duo. They argue incessantly with each other and their arguments are amusing. Incidentally, future "Trinity" director Enzo Barboni served as the director of photography. Talented composer Carlo Rustichelli never leaves us in doubt when a scene is supposed to be amusing or murderous. "A Train for Durango" isn't the greatest Spaghetti western ever made, but it manages to be cynical, comedic, and entertaining.

FILM REVIEW OF ''KID RODELO" (U.S.-SPANISH 1966)

"Four Guns to the Border" director Richard Carlson helmed this thoroughly lackluster Louis L'Amour western "Kid Rodelo,"(** OUT OF ****) with Don Murray, Janet Leigh, and Oscar-winner Broderick Crawford.  This straightforward, humorless, horse opera concerns survival of the fittest on the frontier. Appropriately enough, lean, handsome Murray is cast as the virtuous hero, while paunchy, gravel-voiced Crawford excels a treacherous outlaw with an itchy trigger finger. Eventually, these two wind up on a rugged desert trail transporting $50-thousand in gold with remorseless Yaqui Indians shadowing them like vultures. The prison hires Yaquis to bring back escaped prisoners, and the Yaquis usually bring them back face down and draped across the saddles of their horses. Unlike the Rangers, the Yaquis need not bother with the same pesky jurisdictional issues that the Rangers must contend with when crossing the border into Mexico.  These Yaquis are particularly proficient at what they do, and their leader, Cavalry Hat (José Villasante of “Django the Condemned”), covets the hero's boots.  The only thing that distinguishes this western is the eponymous hero’s knowledge of desert plants, specifically cholla cactus with their poisonous spines which can lame a horse.

Kid Rodelo (Don Murray of "From Hell to Texas") has been released after serving a year inside Yuma Territorial Prison, while villainous Joe Harbin (Broderick Crawford of "All the King's Men") sweats out a life sentence because he shot his partner. Meantime, Harbin's accomplice, Thomas Reese (José Nieto of "Dr. Zhivago"), hatches a plan to break out of Yuma. He has stolen two wooden matches from the kitchen. Harbin and he toil in the stone quarry where they hammer holes into the rocks with a drill to insert dynamite to blast the formation. They plant some extra sticks of dynamite and all hell cuts loose. In the novel, Joe's accomplice is named Tom Badger and he survives until the finale, whereas Reese dies not long after they break out of prison. Anyway, Harbin and Reese take the Warden (Emilio Rodríguez) as a hostage to make good their escape. They shoot their way out of Yuma using the Warden as a shield and dump him once they have gotten away.

Now, they light out in hot pursuit of the Kid who has caught a ride with another some other suspicious characters who are conveniently watching for him to show up.  Link (Richard Carlson of "Creature from the Black Lagoon") and his girlfriend Nora (Janet Leigh of "Psycho") are waiting for the Kid as he trudges on foot along the trail from the prison.  Link wants the money, too, and he has hired another gunslinger, sleazy Balas (Julio Peña), to help him.  After they reach a largely abandoned town, Link and Balas enter a house and find a box concealed beneath the wooden floorboards.  They get into an argument over Balas' percentage of the loot.  The greedy Balas insists on a greater share and guns down Link without a qualm.  Later, Balas joins Joe after he guns down Reese, but they don’t trust each other.  Gopher (Alfonso Sanfélix) dies later after they have crossed the border.  Balas takes the gold piece that Joe gave Gopher after he made him a partner.  Balas suggests that they flip for the coin, and Joe grabs the coin before it hits the ground and appropriates it as his coin.  Eventually, Cavalry Hat picks off Joe as he is about to gun down Rodelo.

This threadbare oater was lensed on location in rugged Spain.  Strangely enough, the pinch-penny producers filmed this outdoors yarn in black & white.  This Paramount Pictures release seems unusual because most westerns by that time were photographed in color, even those old timer oaters that producer A.C. Lyles made.  "Badman's Territory" scenarist Jack Natteford departs drastically from the source material in at least one crucial respect, and this change might upset hardcore, morally rigidly, L’Amour fans.  For example, Link is named Jake, and Balas is named Clint.  Nevertheless, this is nothing compared with the outcome of the action and the disposal of the gold.  The characters amount largely to stereotypes as they did in the novel.  Like most L'Amour heroes, Kid Rodelo knows his way around the desert like an expert, particularly the whereabouts of water holes.  Carlson and Natteford exploit Rodelo’s environmental familiarity, such as knowing about the flora and fauna to keep them alive.  The performances are okay, while Leigh appears as little more than window dressing.  She does do one important thing at the end. This gritty western tries to imitate the Spaghetti westerns, but Carlson imparts little color or charisma.  The villains are cutthroat dastards, willing to kill anybody to keep from sharing the loot.  The simple Johnny Douglas orchestral score represents an exercise in minimalism.  The finale on the shore of the Gulf of Baja differs from most westerns because you don’t often see the action end on a beach.  Altogether, as a film, “Kid Rodelo” doesn’t surpass the L’Amour novel despite the scenic splendor of the Spanish landscape and the obvious amoral Spaghetti western influence on the ending.  The chief difference between the novel and the film is Rodelo planned to return the gold to the authorities to clear his name for his supposed part in the robbery.  In the novel, he was arrested because he was caught riding with Joe, but Rodelo didn’t know anything about the robbery. The film concludes with Rodelo and Nora bathing in the surf then walking off as permanent partners.

FILM REVIEW OF ''EMPIRE STATE" (2013)

“Empire State” (** OUT OF ****) qualifies as an interesting but mediocre armored car company heist epic.  Ostensibly, “Fighting” director Dito Montiel and “Breach” scenarist Adam Mazer failed to take advantage of a fantastic opportunity to make a first class caper film.  The real-life incident itself constituted something of a landmark in crime annuals.  According to the Associated Press, the $11-million robbery of the Sentry Armored Car amounted to “the largest cash robbery in U.S. history.”  Furthermore, the AP pointed out this robbery surpassed the December 1978 robbery of $5.8 million in cash and jewelry taken by thieves from the Lufthansa cargo area at Kennedy International Airport.  Martin Scorsese immortalized the Lufthansa heist in his crime magnum opus “Goodfellas” with Robert De Niro and Ray Liotta.  Meantime, Montiel assembled an enviable cast including Liam Hemsworth, Michael Angarano, Dwayne Johnson, Emma Roberts, Paul Ben-Victor, Michael Rispoli, and Roger Guenveur Smith.  “Empire State” generates sufficient atmosphere, but the plot is curiously lackluster.  Montiel and Mazer neither made a semi-historical crime reconstruction (the loot hasn’t been recovered) or a fictional counterpoint to it exploiting history as a jumping off point. 

Contemporary crime thrillers often implicate audiences because we are rooting for the charismatic perpetrators.  Initially, the protagonist, Chris Potamitis (Liam Hemsworth of “The Hunger Games”), wins our sympathy for three reasons.  First, he cannot land a job with the NYPD owing to a penny-ante marijuana arrest at a rock concert years ago.  Second, his Greek-born father, Tommy (Paul Ben-Victor of “True Romance”), loses his blue-collar job as a janitor after a quarrel in the toilet of a local bar with the owner.  Third, Chris is outraged by the cavalier treatment of a fellow employee at an armored car company days after he is hired as a guard.  No sooner has our hero gotten a job with the Empire Armored Car Company than he watches in horror as his friendly mentor, Tony (Michael Rispoli of “Pain & Gain”), dies during a botched robbery attempt.  Tony’s assailant shoots the family man several times in the stomach during a struggle.  Earlier, Tony ridiculed his employer’s slipshod security measures.  He showed Chris how easy it would be to steal from the company vault.  Tony explains that the owners never count the money after they have stashed on pallets in their vault with a harmless German Sheppard prowling the premises.  Furthermore, he reveals that the owners have been known to skim the money entrusted to them.  Chris is astonished at the sight of $25 million in money bags scattered haphazardly in the vault.  Later, after Tony dies, the company welshes on its promise to pay $50-thousand his widow.  Instead, as Chris learns afterward, they have paid her a measly $5-thousand.  Like a modern-day Robin Hood, Chris steals enough loot from the company to pay off the widow.  

At this point, Chris makes several mistakes. First, he flaunts his haul to an arrogant, conceited childhood pal, Eddie (Michael Angarano of “Almost Famous”), who has an unfortunate habit of shooting off his mouth..  Eddie gives new meaning to “loose lips sinking ships.”  Chris and Eddie blow the rest of the loot that our hero stole on booze and babes.  Loquacious Eddie babbles to a couple of low-level street hooligans from the neighborhood.  The temptation of easy money is too much for them to pass up.  Second, Chris loses our sympathy when he agrees to rob the company.  He is giving into his own greed with no other reason that avarice itself.  Ironically, the thugs in a van who tried to rob Empire earlier now attempt to break into the Empire facility one evening.  This unexpected turn of events takes Chris by surprise.  Eddie and his hooligan friends were planning to knock off the place at the same time.  Previously, when these thugs killed Tony and shot up Chris’s bullet-proof vest, the NYPD dispatched Detective Ransome (Dwayne Johnson of “Pain & Gain”) to investigate.  Ransome and his partner show up again when the thugs hit Empire and a small gunfight ensues with Chris entering the fray at the last minute.  He manages to kill one of the thugs as the latter was about to ice Ransome.  Chris basks in brief fame in the local press, but Eddie goads him to take advantage of the Empire’s slack security.  

The robbery that follows shows Chris in an unsavory light.  Eddie smashes his way through the ceiling and Chris coaches him about how to wear his apparel so that a security camera will not record his face.  Eventually, Eddie has to smash his gun over Chris’s head to make it look like Chris was the victim rather than the mastermind of the robbery.  Naturally, Ransome is back on the case and keeping tabs on our hero.  Eddie and his mobster pal get into trouble and the FBI enter the case.  It is only a matter of time before Eddie goes so berserk that Chris’s father Tommy intervenes and the NYPD arrest everybody, but the money is never found.  “Empire State” implies that the loot is hidden in a statue that Chris gave his mother.  Nevertheless, nobody ever reaps the rewards of the robbery.  Ironically, Chris Potamitis served as a co-producer on “Empire State.”  He served a brief sentence for his involvement in the crime.  

Clocking in at 94 minutes, “Empire State” generates neither enough urgency nor sufficient suspense.  The hero degenerates from a Robin Hood to a hopeless moron.  Dwayne Johnson shows up 22 minutes into the action then checks out and returns another twenty minutes or so later but lurks for the most part on the periphery.  Emma Roberts plays a restaurant waitress and appears to be Chris’ quasi-love interest, but the sparks never fly between them.  The shoot-out at Empire Armored is noisy but never thrilling.  The worst thing about “Empire State” is that Montiel had everything necessary to make a classic heist caper.  Mazer’s screenplay wavers between a Robin Hood crime thriller where the underdogs triumph over a corrupt business to a comedy of errors where idiots allow their own stupidity and greed undermine them.  “Empire State” boasts polished production values, a solid cast, and historic precedent, but it shoots itself in the foot with its sloppy approach to its subject matter.  This is a deplorably missed opportunity for everybody connected with this movie.

FILM REVIEW OF ''PARKER" (2013)

The brawny Jason Statham crime thriller “Parker”(*** OUT OF ****) qualifies as uneven but entertaining.  Too many characters converge in this above-average revenge melodrama.  Hispanic diva Jennifer Lopez plays one of those extraneous characters in “Black Swan” scenarist John J. McLaughlin’s flawed screenplay.  Cast as a divorced, debt-ridden, real estate agent, Lopez never gets intimate with her rugged “Transporter” star.  Instead, she is stuck in a supporting role and lends only minimal sizzle to “Blood In, Blood Out” director Taylor Hackford’s otherwise high-octane actioneer.  In one scene, she strips to her undies for our suspicious protagonist to see if she is wearing a wire.  Meantime, our hero has somebody else, in an even smaller role, who attends to him after he’s been shot, stabbed and beaten up.  Nevertheless, when Lopez isn’t chauffeuring Statham around scenic Palm Beach, Florida, she is meddling with his carefully laid plans the same way Lucille Ball used to interfere with his Cuban band-leader husband’s nightclub show in the “I Love Lucy” television comedy.  This energetic R-rated epic follows the exploits of a tough-as-nails professional criminal named Parker who lives by a strict code of ethics that reflects his principles.  He doesn’t harm anybody who doesn’t ask for it, but robbery is still his bread and butter.  When an armed guard nearly succumbs to a heart attack, Parker calms him down while he steals from him.

Statham isn’t the first actor to incarnate Parker.  If you’re counting, “Parker” marks the sixth time Hollywood has adapted the late Donald E. Westlake’s crime novel that he penned under the pseudonym Richard Stark.  Initially, French New Wave director Jean-Luc Godard changed the sex of the role for actress Anna Karina who played Paula in “Made in USA” in 1966.  Lee Marvin took a bullet as the same character with the name Walker in director John Boorman’s violent shoot’em up saga “Point Blank” in 1967.  Jim Brown played him as McClain in director Gordon Flemyng’s account of a hardboiled hold-up in “The Split” in 1968.  Robert Duvall landed the role as Macklin in director John Flynn’s “The Outfit” in 1973.  Finally, Mel Gibson appropriated the part as Porter in director Brian Helgeland’s gritty, bullet-riddled “Payback” (1999).  If you haven’t seen these previous adaptations hardboiled melodramas, you should put them on your wish list.  

“Parker” opens with an explosive heist at the Ohio State Fair.  Parker (Jason Statham of “Safe”) supervises an elaborate heist with four partners with whom he has no history.  This quartet masquerades as either clowns or cops, while he dons the collar of a clergyman.  They plunder the concession booth and make off with hundreds of thousands of dollars.  A case of arson designed to distract the authorities so the gang can make a quiet getaway concludes with the tragic death of an innocent bystander.  No sooner has this criminal quintet fled with their ill-gotten gains than Melander (Michael Chiklis of “The Fantastic Four”) insists Parker chip in his share of the loot so they can finance a $50-million haul in Palm Beach, Florida.  Naturally, since our hero doesn’t trust his accomplices, he refuses to join them.  Melander pulls a gun on Parker, and they careen recklessly down a public highway trying to control Parker.  Parker beats them up and then bails out the window.  He slams into the asphalt and lays there stunned.  August (Micah A. Hauptman of “S.W.A.T.: Firefight”) shoots him once and disposes of his bloody corpse into a ditch.  Miraculously, Parker survives this near-death ordeal and lucks up when a family stops to help him out.  Our hero awakens in a hospital as the police are making inquiries about him.  Cleverly, he manages to elude them despite both  the trauma and his gunshot wound.  He tracks Melander and his trigger-happy goons down to sunny Palm Beach, Florida.  Parker’s escape from the hospital and his improvised methods for boosting cars and getting cash-on-the-run are fascinating stuff.  Not long after Parker arrives in Florida, he hooks up with Lesley (Jennifer Lopez of “Enough”) and uses her to find where his ex-partners are holed up in an elite population.  “Parker” loses momentum at this juncture before it recovers with a suspense confrontation between our amoral hero and the dastardly quartet of hoods.  

Despite the alluring attraction she provides, Jennifer Lopez could have been deleted entirely from "Parker."  After all, what is the point of having a looker like Lopez if she is not the hero’s romantic interest?  Meantime, Hackford and McLaughlin confine Parker’s girlfriend Claire (Emma Booth) to the periphery with little to do aside from fleeing from his assailants and nursing our hero’s wounds.  She doesn’t have enough time to make much of an impression.  Michael Chiklis, Clifton Collins Jr., Wendell Pierce, and Micah A. Hauptman are thoroughly convincingly as ruthless criminals who leave Statham for dead on a road with a bullet in him.  Unfortunately, we don’t learn much about these thugs since Hackford and McLaughlin concentrate on the plight of Lopez’ hard luck character.  Looking way past his prime as Statham’s mentor, Nick Nolte spends most of his time growling his lines of dialogue as if he were recovering from a hangover.  One of the best close quarter’s combat scenes pits Statham against Swiss actor Daniel Bernhardt, who replaced Jean-Claude Van Damme in the “Bloodsport” franchise.  For the record, Statham and Bernhardt performed their own stunts in a knock-down, drag-out, brawl.  This bruising man-to-man knife and fistfight qualifies as one of the highlights of “Parker.”  Clocking in at just shy of two hours, “Parker” could have been leaner and meaner had either Lopez’s scenes been trimmed or the two women had been merged into one.  Nevertheless, die-hard Statham fans will enjoy the white-knuckled shenanigans in this muscular melodrama.