In 2008, director-of-Contraband Baltasar Kormákur starred in Reykjavik-Rotterdam. Successful in Iceland, Kormákur realised the film would work exceptionally well by transferring the story from Iceland to America. I have not seen the original, but I would like to think that the plot had a little bit more tension. By moving the film to ‘the ports’ in Louisiana, it seems like the film has been modelled on the look and feel of the second season of The Wire. Huge crates and sly-bribes ensure that you can control what is coming in and out if you have the authority and power.

As the film rests solely on the success or failure of the ‘job’, it is important to be very clear on the reasons why Chris Farraday believes it is neccessary to get back into the smuggling trade int he first place. Is he close to his brother-in-law? Does he owe his brother-in-law any type of debt? To both questions, the answer is ‘no’. Brother-in-law Andy, played by young-actor Caleb Landry Jones (who portrayed Banshee in X-Men: First Class), has been told – by Farraday – to get out of the illegal business many times but Andy ignored him. Halfway into the job, Andy risks everyones life for the sake of a drug-score. Personally, I think Chris Farraday should’ve taken Andy to the police and left him there. Tim Briggs, though dangerous and violent, didn’t appear to be the type of character who was paying off the cops – not to mention how if Andy testified against Briggs in court, he would surely get a shorter jail-term. But no, Chris ‘needs’ to risk everything for this little brat. This is the story we’re dealt and this is what we run with – no realism, nothing to relate to and no clear purpose. Just a series of action sequences that we hope will cover the gaping holes in the plot. You know this is true by the final act, as suddenly everything goes a little crazy – twists that were obvious from the outset apparently ‘raise’ the stakes, tongue-in-cheek jokes conclude storylines which we were invested in and it seems that people remain ‘dead’ until the perfect moment whereby Wahlberg can take responsibility for ‘saving them’.

But we know already how weak the story is. I checked my twitter-feed for #Contraband shortly after viewing the film and someone noted how the film is very similar to Dominic Sena’s Gone in Sixty Seconds. Personally, I loved Gone in Sixty Seconds so the comparison seemed unfair. Contraband has the same “pulled-back-in due to a foolish-brother/brother-in-law” narrative which, coincidentally the brother is played by Giovanni Ribisi in Gone in Sixty Seconds. Ribisi was youthful and foolish, but as a viewer, you liked him and it was great to see the dynamic between Ribisi and Nicholas Cage. There is no such chemistry in Contraband between Wahlberg and Caleb Landry Jones. The ‘team’ who were stealing the cars in Gone in Sixty Seconds were likable and interesting to watch – Vinnie Jones cast as the mute professional (good choice on the ‘mute’-ness) and Donny (Chi McBride) specifically stood out. Then you have the comparative ‘villain’ – Christopher Eccleston’s wood-obsessed villain against Ribisi’s murderous druggie. Again, there is no contest – crazy-wood-guy wins everytime. Bottom line is – stylish cars in LA trump counterfeit-money-on-boats in New Orleans any day. The list could go on – and I haven’t even mentioned the underused Kate Beckinsale in Contraband.