Through Parker, you can see subtle little touches that demonstrate the best parts of the character, pulled from Richard Stark's brilliant crime series: When Parker's stealing a car to get away from a heist-gone-bad, you see Jason Statham momentarily consider a limousine before running the scenario through his head—too risky—and then moving on. Later, Parker plants a few contingency weapons before the final shootout that he never gets around to using, which is a surprisingly naughty thrill in the leave-no-dot-unconnected world of Hollywood. Unfortunately, just about everything else about Parker sucks. by Paul Constant