David Koepp has one of the most fantastic blockbuster screenwriting CVs around, having lent his pen to the likes of - deep breath - Jurassic Park, Death Becomes Her, The Shadow, Mission: Impossible, Carlito's Way, Stir Of Echoes, Panic Room, Spider-Man, War Of The Worlds and Zathura, among others.  So when Koepp's name is there as writer/director of a New York set bicycle courier thriller expectations are oddly high.

The plot, as is the case with a lot of Koepp's best work, is simple; bicycle courier Wilee (Joseph Gordon-Levitt) finds himself in need of a bit of extra cash at the end of his shift, fortunately a job comes in, get a delivery across town by 7pm.  Unfortunately for Wilee this delivery has attracted the attention of the rather ruthless and determined Bobby (Michael Shannon), and the two are quickly embroiled in a game of cat and mouse as Wilee tries to make his way from one side of New York to the other.

Koepp, like the best Hollywood writers (William Goldman, Ernest Lehman, to name a couple) knows to hide his character development in amongst the pacy action, keeping the film racing along in its spirited, humourous opening scenes.  We are speedily caught up in Wilee's world view; his stalled romantic relationship with fellow biker Vanessa (Dania Ramirez) and rivalry with Manny (Wolé Parks).

For the most part Koepp succeeds in keeping things pared down to the bone, his script is as direct and glib as Wilee's philosophy on riding; "The bike wants to go fast."

However, he can't keep it up and there is a noticable slump in the latter half of the film's second act, especially with the sub-plot involving Nima (Jamie Chung).

Luckily Koepp has a pair of aces up his sleeve in the shape of Gordon-Levitt and Shannon.  This duo bounce off of one another brilliantly - sometimes literally - with Gordon-Levitt bringing a likably cocksure swagger to Wilee, whilst Shannon utterly chews up he scenery with a deliciously detestable villain, reminscent of the kind of S.O.Bs that the late, great Paul Gleason (Die Hard, Trading Places) would specialize in.

It is these central performances - and there's also strong support from the aforementioned Ramirez, Parks and Christopher Place as a comically beleagured bike cop - and the film's generally zippy energy that keep it afloat.  Unlike all too many films out there it doesn't have an eye on its franchise potential, setting up the brand or pandering to an existing fan-base, it sets out its stall, tells its tale and delivers in a, generally, satisfying package.

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