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The Italian Job

Though it bears little resemblance to the original 1969 thriller starring Michael Caine, the 2003 remake of The Italian Job stands on its own as a caper comedy that's well above average. The title's a misnomer--this time it's actually a Los Angeles job--but the action's just as exciting as it propels a breezy tale of honour and dishonour among competing thieves. Inheriting Caine's role as ace heist-planner Charlie Croker, Mark Wahlberg plays straight-man to a well-cast team of accomplices, including Mos Def, Jason Statham, and scene-stealer Seth Green in a variation of the role originally played by Noel Coward. As the daughter of Croker's ill-fated mentor (Donald Sutherland), Charlize Theron is recruited to double-cross a double-crosser (Edward Norton in oily villain mode), and once again, speedily versatile Mini Coopers play a pivotal role in director F. Gary Gray's exhilarating car-chase climax. It's perhaps the greatest product placement in movie history, and just as fun the second time around. --Jeff Shannon

Shooter

A movie that would not have been out of place in the run of paranoid-political thrillers of the 1970s, Shooter works an entertaining variation on the assassination picture. Mark Wahlberg, carrying over good mojo from The Departed, slides neatly into the character of Bob Lee Swagger, master marksman. Swagger has retreated from his duty as an off-the-books hired gun for the military, having become disillusioned with his government (switching on his TV at his remote mountain cabin, he mutters, "Let's see what kind of lies they're trying to sell us today."). Ah, but the government needs Swagger to scope out the location of a rumoured attempt on the life of the president, so a shadowy government operative (Danny Glover) begs Swagger to use his sniper's skills to out-fox the assassin. From there--well, spoilers are not fair, since the movie has a few legitimate shocks and a very nice wrong-man scenario about to unfold.

A novel by the Washington Post's Pulitzer Prize-winning film critic Stephen Hunter gives the movie a logical spine, even if the premise itself is the stuff of conspiracy theorists. Wahlberg gets support from Michael Pena, as a skeptical FBI agent; Kate Mara, as a trustworthy widow; and Ned Beatty, trailing along memories of Network, as a supremely cynical Senator. Along with the well-executed action sequences (the previously unreliable director Antoine Fuqua gets it in gear here), the movie includes a few potshots at the Bush administration. No, that doesn't put Shooter at the level of The Parallax View or All the President's Men, but it provides some tang along with the flying bullets. --Robert Horton

Four Brothers

Bound by love for their slain adoptive mother, the brothers in Four Brothers form a unique quartet that gives John Singleton's film a razor's edge of redemption. It's a thin edge, to be sure, because while Singleton's urban Western pays homage to the Blaxpoitation films of the '70s (as he did with his remake of Shaft), it walks a fine line of credibility with a mythic vengeance plot (recalling John Wayne's 1965 hit The Sons of Katie Elder) that endorses violence as the last resort of a family under siege. When a saintly foster mother (Fionnula Flanagan) is gunned down in a convenience store, her only adopted sons (two white, two black, played respectively by Mark Wahlberg, Garrett Hedlund, Tyrese Gibson and Andre Benjamin) go after the killers, only to discover that their mother's death was not a random event. As they uncover a sticky web of criminal activity involving a local kingpin (Chiwitel Ejiofor), the character-driven plot races toward an inevitable showdown, with ex-con Wahlberg leading the way. Making excellent use of blue collar locations in Detroit, Singleton keeps the action moving fast enough that the film's lack of realism is easily ignored, and the well-drawn characters (including Terrence Howard as a tenacious detective) lend emotional dimension to an otherwise familiar revenge scenario. Four Brothers is manipulative, but it's filled with grace notes of rugged working-class humanity, and it definitely holds your attention. --Jeff Shannon