Film Score: 3 out of 5 (Good)
Synopsis: Indebted to Boston’s West End mob, wheelman (Frank Grillo) serves as a getaway driver until a job turns sour at the hands of a mysterious caller. A small budget film picked up by Netflix, Wheelman carves a space for itself in a genre overshadowed by Drive, Baby Driver and Thief. The film’s speed turns Wheelman into a giddy joyride, glancing attention away from the plot’s pastiche of generic crime thriller tropes.
Written and directed by Jeremy Rush, Wheelman is a crime thriller which tinkers with the genre. The confined world of wheelman’s car permeates claustrophobia like Phone Booth, while the camera’s fixed presence in the car borrows from Locke. Yet Wheelman provides its own take on both of these ideas. In Locke, the story is one man and a telephone. The car is the conference room where Ivan Locke (Tom Hardy) makes his calls. In Wheelman, the car is put to better use, becoming both a stage and a lens into the world. Characters enter the car, causing the world to feel more inhabited than Phone Booth. The presence of other characters creates some great moments as friend or foe sit beside wheelman in this cramped space. In the opening shot and later, outside events are framed behind the car’s front seats, adding a voyeuristic sense that you are in the back seat watching all unfold.
Visually, the camera’s constraints add realism to wheelman’s panicked dash around night-time Boston, while zoomed shots of the car flash with neon colours from the streets. Music is sparingly used in Wheelman, with silence or the car’s roaring engine filling the scene. However, the pulsing soundtrack by Brooke Blair and Will Blair ratchets up the tension in the right moments.
The plot follows what is expected from a crime thriller, but distinguishes itself through great performances and some clever tricks. The editing style is a rapid burst of quick shots across the car as though the camera, just like wheelman, is beginning to panic under pressure. A loop of calm jazz, better suited to a hotel elevator, constantly plays in the background when the mystery caller telephones wheelman, projecting the villain’s menace and dominance. Bank robber ‘mother fucker’ (Shea Whigman) and wheelman’s criminal associate Clay (Garret Dilahunt) both spend time in the car, providing humourous dialogue and extra tension during their appearances. Although the plot quickly becomes chaotic, Wheelman slowly builds suspense through terse conversations with the mystery caller, causing me to jump back when bullets pop through the car windshield 30 minutes into the film.
Wheelman’s strength is Frank Grillo’s performance as the anonymous wheelman. Grillo’s rugged demeanour and animated toughness lends a credibility to the character, even when the plot predictably devolves into showing wheelman’s softer side. Having starred in The Purge sequels and been a brief character in Captain America: The Winter Soldier, Wheelman is Frank Grillo’s star vehicle.
For a film I downloaded on a whim for a long train ride, Wheelman was a pleasant surprise. I recommend it for anyone looking for a good, uncomplicated thriller to fill a lull in the weekend.
By Saul Shimmin
For the trailer, see below: