The trick with Jason Statham is mixing him into a movie in the appropriate amount. Lock, Stock, and Two Smoking Barrels was his first movie, but Guy Ritchie can turn anything English into an energetic powerhouse (he could make Prince Charles light up the screen). In the Transporter movies with their goofy European excess and the Crank movies with their goofy American excess, Statham could just tense up his abs and clench his jaw while the movies happened around him. I think Statham is one of the guys in those aptly named Expendables movies, but really, who can keep track of those casts?
A few movie makers have had the idea that Statham can carry a movie. He can’t. He has two expressions. The first is “I’m about to kick your ass”. The second is “I just kicked your ass”. They’re mostly the same expression, but the first one pretends to be a bit more relaxed. So to make a Jason Statham movie, you have to surround him with a solid cast to handle the acting part of the movie. This is where Homefront is probably the best Statham movie in a string of forgettable and easily confused titles like Redemption, Safe, and Parker (Parker is actually pretty good, but it leans way too heavily on Statham). Homefront mostly works because nearly every scene has someone else doing the acting. Rachel Lefevre and her glorious red ringlets. Clancy Brown as a sheriff with his hand perched on his gunbelt. Frank Grillo in an all-too-brief appearance as a biker assassin. A wonderfully hardened Winona Ryder as our Lady MacBeth. An appropriately gaunt and effectively shrill Kate Bosworth. A really good child actor named Izabela Vidovic who performs circles around Statham. And, of course, James Franco and that weird gleam in his eye. The Franco/Statham showdown is great for how Franco prevails so completely that when it comes time for Statham to kick his ass at the end of the movie, he uses Franco’s own zingers against him. Every single one of them. He remembered each insult because they obviously stung. Franco may be getting his ass kicked, but you can tell Statham knows he totally got pwned.
Statham’s best performance is in a movie called London, in which he and Chris Evans spend most of the movie locked in the bathroom at a party, snorting coke and venting their respective insecurities. Statham has the monologue of his career. He confesses — nay, proclaims! — that he suffers from erectile dysfunction. He commits to the monologue like he has never committed before or since, combining both of his expressions in new ways because he knows there aren’t going to be any fight scenes.
Homefront is a bog-standard (literally!) thriller of one good man vs a bunch of bad buys, but its concept of America is lovingly lit Norman Rockwell settings inhabited by meth-addled white trash. “Rednecks,” the movie’s noble black character mutters at one point. It’s based on a novel, but you can clearly see its development as a Sylvester Stallone project that he personally adapted (at one point as another chapter in the Rambo saga), but was unable to get going until he was too old to play the lead. So in steps Statham, trying not to keep his jaw clenched too tightly while everyone acts around him. He knows there’s a fight scene coming up.
Homefront is available on Netflix’s instant watch service, as well as plenty of other places.