When it stalls, it stalls because his rambling screenplay feels like it’s just filling time instead of spending it wisely. When it works, it works because Jeremy Rush and his production team have found the right balance between low-fi production and high-quality action.
(Uh… we do know better, right? Has anyone actually checked in on that?) And the climactic car chase goes in an original direction, at least for a while, injecting some nitrous oxide into an otherwise standard cinematic transmission.Īt first glance it might look like Frank Grillo is carrying Wheelman entirely by himself, but although Grillo in nearly every scene - often by himself - this is Jeremy Rush’s movie. There’s one crash in particular that looks like it was filmed by accident, and if you didn’t know better you might think someone really died. The action in Wheelman makes an impact, every time it finally comes around. Fortunately, the conservation of resources sometimes pays off. Or worse, like we’re watching Frank Grillo listen to a radio play. But after a while it feels like we’re just watching a radio play. It’s a pretty economical way to make a low-budget action movie, devoting most the running time to dialogue that sounds important. He calls a heck of lot of people over the course of writer/director Jeremy Rush’s film. Wheelman calls his handler, he calls his wife, he calls his daughter, he calls the mysterious voice that got him in this mess in the first place. The thieves are going to kill him, or so he’s been told, so he waits until the cash is in the trunk and then he takes off, no longer knowing who to trust. The driver, known only as Wheelman (Grillo), is working a run-of-the-mill bank job when, right after his passengers start pulling the heist, he gets a mysterious phone call, ordering him to steal the money.
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