Film

Parker

Name: Parker
Genre: Action, Crime
Released: 2013
Cast: Jason Statham, Jennifer Lopez, Michael Chiklis, Wendell Pierce, Clifton Collins Jr.

A stylish heist thriller with Jason Statham as a thief operating by his own strict moral code. Director Taylor Hackford brings a glossy, character-driven approach to crime—less explosions, more schemes and grudges. It's for people who want smart action grounded in personality, where the plot matters as much as the fight choreography.

TMDb rating

3.1

If you liked this

Heat1995

Michael Mann's masterpiece about competing professionals—a cop and a robber—locked in mutual respect and conflict. Intricate, methodical, and features one of cinema's greatest scenes between De Niro and Pacino sitting across a table.

But Nearly three hours long, and long stretches are procedural and quiet. The action is spectacular but sparse, so patience is required.

Ocean's Eleven2001

A clever ensemble heist where the fun comes from watching smart people execute an impossible plan. Stylish, funny, and genuinely fun—it proves heist films can be entertaining without sacrificing wit or craft.

But Lighter in tone than Parker, so if you want moral complexity and real stakes, this leans more toward charm and spectacle.

Thief1981

Michael Mann's debut, with James Caan as a professional thief navigating loyalty, love, and betrayal. Neon-lit 1980s Chicago becomes a character itself; it's a blueprint for heist stories with depth.

But Genuinely slow by modern standards. It's deliberate and interior—more interested in what the life costs than in action sequences.

Not sure tonight? Get a pick in a minute, starting from Parker

The wildcard

Something you would not have found on your own.

Charley Varrick1973

Both are about a lone operator with a personal code forced into conflict with criminals who broke their own rules. The structure is nearly identical: betrayal, evasion, clever improvisation.

A small-time thief steals money from organized crime and spends the film outwitting both the mob and the authorities. It's lean, clever, and genuinely gripping—Walter Matthau is a genius playing against type as an unstoppable professional.

But Shot in 1973 with a grainy documentary look and minimal music. It feels spare and unglamorous, which some will find refreshing and others will find dated.

The Killing1956

Kubrick's taut racetrack heist is only 85 minutes but feels complete and intelligent. The narrative jumps in time to show each angle of the plan; it influenced heist storytelling for decades.

But Black-and-white, from 1956, and quite dry. If you need modern production values and constant momentum, this will feel austere.

Drive2011

A getaway driver with his own code operates in stylized LA noir. Like Parker, it's about a professional with ethics; the look is immaculate and the violence is sudden and real.

But Long stretches of near-silence with minimal dialogue. It's meditative and melancholic—the opposite of propulsive—and some scenes are brutally hard to watch.

Killing Zoe1993

A bank heist in Paris goes wrong in the darkest possible way. It has style, blood, and genuine stakes; Roger Avary's direction finds beauty in chaos and moral collapse.

But Graphic and deeply unpleasant. People get hurt in ways that aren't glossed over, and the tone is nihilistic rather than fun.

Rififi1955

A French noir heist classic with a legendary wordless robbery sequence. It's the ancestor of everything Parker owes to the genre—cool, precise, and about men bound by codes.

But Nearly 120 minutes in French with subtitles, from 1955. The pacing is leisurely and the print is sometimes rough; it requires active attention.

Hell or High Water2016

Two brothers rob banks to save their family farm while a cop closes in. Modern western heist with real emotional weight, and Ben Foster and Chris Pine crackle with tension and purpose.

But Slower than most action films—the drama matters more than the robberies. If you want spectacle over character, look elsewhere.

Baby Driver2017

A getaway driver with his own code works for a crime boss. Edgar Wright's direction is kinetic, visual, and completely alive; the soundtrack becomes part of the narrative itself.

But The cuteness and musicality of the style may feel at odds with the grimness of the plot. Some find it artificially cheerful for a crime story.

A Prophet2009

Both follow professionals navigating moral codes in dangerous worlds. Parker operates by his code; Malik learns to exploit and rewrite the prison's codes. Both are about power through understanding the rules better than anyone else.

A young man enters prison, learns its codes, and becomes a power player—a crime story about survival and ruthless self-invention told with narrative intelligence and genuine tension. The prison becomes a complete world.

But It's 155 minutes in French with subtitles, and deeply immersed in the culture of French penal institutions. The pacing is slow-burn, and if you don't connect early, it won't release you.

Sexy Beast2001

Both are about a thief's life interrupted by outside forces demanding one final job. Both feature protagonists trying to maintain their personal codes against criminals who have none. Both are also uncommon in pairing a professional crime story with unexpected emotional depth.

Ray Winstone plays a retired criminal living peacefully in Spain until disrupted by Ben Kingsley's terrifying volcano of a gangster. It's surreal, violent, and deeply funny—a rare film that works as both threat and comedy.

But The tone whips from slapstick to brutality without warning. If you need consistency in register or don't enjoy black comedy about violent men, it's unsettling rather than entertaining.