Tragic this received a borderline nonexistent theatrical release in America (coinciding with its on-demand premiere, as is so often the case with modestly scaled films in this day and age, even ones featuring recognizable casts and/or credited to A-list directors) because it is fantastic. A disquieting, stylish, and moving British crime drama in the vein of Drive and the original Get Carter, it is the auspicious directorial debut of Steven Knight, the writer of the Oscar nominated Eastern Promises. (One of my favorite directors, Joe Wright of Pride & Prejudice and Atonement fame, serves as co-executive producer.)

In his best vehicle since Snatch over a decade ago, Jason Statham realizes his full potential as an actor and movie star here, shading his well-known masculine intensity with a potent sense of despair and frailty as a former soldier turn low-level mob enforcer with a secret longing for redemption. This is the first time in a long time one can sense he is searching within and pushing himself as an actor to play a complicated role rather than the role simply conforming to his charming, cooler-than-thou comfort zone, and the result is inspiring. Matching and even outshining him is co-star Agata Buzek, a promising fresh face from Poland who plays a concerned nun devoted to helping the city's destitute and adrift as she runs from her own haunted past. The two characters' hesitant understanding of one another is explored with a surprising level of gravity and humanity, becoming one of the most touching screen relationships in recent memory. The story twists and turns to a satisfying, but grounded ending which neither damns the flawed protagonist nor provides an easy solution to the legal and moral conundrums in which he is ensnared, and the director of photography conjures a foreboding, hypnotic, often neon lit vision of nocturnal London.

A final note: though it bears the generic title of Redemption in the United States, it is clear viewing the film the softer, more mysterious and melancholic British title, Hummingbird, is its true name, even if it might deter the actor's post-Transporter/Expendables fan base.

A

The French title is Crazy Joe. More fitting?

Hummingbird is still my favorite of the titles, but at least Crazy Joe is more unique and reflects a component of the film.

Redemption

Not your typical Statham actioner, but a welcomed British delight instead. Its tender pace, central theme of redemption (one which I and Stallone adore) and realistic telling of the London underworld make Redemption one of Statham's best films. This is also the first time I've seen Statham properly challenged in the acting department. Instead of choosing roles that demand his physical and fighting prowess, Redemption demands more and he's capable of delivering. I prefer its original title, Hummingbird, as the current title is too generic, however it is fitting to the story.

I hope to see Statham seek out these types of roles much more often. It was sweet, violent, smart, and above all, honest. I'm very interested to see what director Steven Knight can make of Locke (starring Tom Hardy) since Redemption was his directorial debut and he did splendidly with this.

A-

So underrated.

So unseen, more like.

I only have to see Safe and 13 now and then I've seen all the Stathams'. Looking forward to them both.

That's a lot.

Safe is my second favorite Statham movie. I'm sure you'll love it Algren. I was pretty surprised how good it was.

I think Algren will be pissed off at its ending. I was, in a way, heh.

Safe has flaws (it is strange how the final conflict is with this peripheral character who barely registers otherwise), but it is a very well-crafted action on a technical level. Lots of the set pieces, including the hotel shootout, are memorable.

Two movies? Not really. I've seen his little known movies like this, Blitz and Chaos. Just not seen one wide release and another obscure one.

No. I mean having seen all the others. That's a lot.

Ahhh, yes.

This was surprisingly great. Enters my top 3 Statham movies (with Blitz & Safe). The scene where he throws the guy off the roof was quite shocking. Also really liked his relationship with the nun.

This is SO MUCH better than shit like Parker despite not having much action or Statham ass kicking. It's different and an interesting little role for an actor of Statham's caliber who is known for being a badass, but instead goes down a very dramatic/personal route.

I wouldn't mind seeing him do more movies like this either.

Bless its little heart, this film is at the very least trying its best, and has genuine intentions. In the end, it's simply not very good.

C/C-