Chev Chelios survives a fall from the sky, sort of. He's in an unknown location, sedated, while various Chinese are harvesting his organs. His heart is gone, in an ice chest; a temporary in its place. Chev escapes, knowing only the name of the guy with the ice chest. He calls Doc Miles, an unlicensed cardiologist, who tells him there's only an hour's life in the artificial heart: keep it charged. Chev needs to find his own heart and get to Doc for a transplant. He starts his time-limited pursuit of shadowy figures, the ice chest, and his heart aided by Eve, Rei, and Venus - a stripper, a prostitute, and a pal with Tourette's - constantly needing an electric charge to keep going.
Chelios faces a Chinese mobster who has stolen his nearly indestructible heart and replaced it with a battery-powered ticker that requires regular jolts of electricity to keep working.
I found this film so exhausting to watch. I remember being only half way through it and just wishing for it to end already.I think potentially it could be a much better film but the rawness of it was uncalled for. Too much skin, too much blood, too much vulgar language made this a film were i couldn't even see out the ending. I love Jason Statham and he played the the type of character that he would have most likely been asked to do but the story line and supporting actors ordinary. So many times i was just embarrassed at what the writers and directors came up with. Such examples included the fight in the fenced in electricity grid where they turned into giants or something, the counseling session with the horn bag therapist, the ridiculous sex scene on the race track, the TV show with him as a boy and talking about video games and i'm sure there are more if i could have finished it. I don't even know if the tacky obsession with pornography was a deliberate attempt to draw in male viewers but it was so insulting. I don't think i'm at all interested in wanting to watch the first one which i assume won't be far off the tackiness of this film.
If A.D.D. has a name, it must be Crank: High Voltage.<br/><br/>I mean that. Literally.<br/><br/>In one scene, what could have been a well choreographed fight sequence turns into a dull recreation of Godzilla vs. Motrha (we&#39;re talking people quadrupling in size and smashing power lines); in another, intercourse occurs on the middle of a track during a horse race while onlookers hoot-n-holler; later, a severed head that&#39;s kept alive by machinery and and some sort of yellow liquid watches sheepishly as people maim one another in a climactic poolside brawl.<br/><br/>At this point, you either can&#39;t wait to see High Voltage or you&#39;re utterly repulsed. I fall into the latter category, though for a variety of reasons that aren&#39;t limited to the unbridled tomfoolery which has just been described.<br/><br/>The first film was largely successful because of its willingness to allow a somewhat original concept to blossom; to &quot;stretch its wings,&quot; as it were. The sequel, however, sticks to the assumption that bigger, louder, and infinitely more spastic is the sure path to box office bullion. In his defense, writer/director Mark Neveldine is following what can only be called &quot;Hollywood convention&quot;: when making a second movie, you always have to outdo (I&#39;ll leave &quot;outdo&quot; somewhat open-ended) the predecessor. The problem here is that a follow-up should have never been green-lighted.<br/><br/>The original incarnation pushes believability to the edge, but it never adds the proverbial &quot;straw that breaks the camel&#39;s back&quot;—everyone involved seemed aware that the ending was entirely appropriate, as it proved that Chelios-the-likable-but-twisted-anti-hero-human-wrecking- ball was human after all. A definable limit had been reached.<br/><br/>But, as the saying goes, well enough couldn&#39;t be left alone, and here we are, faced with a movie that was doomed before the ink on the screenplay had time to dry.<br/><br/>Before I get too far ahead of myself, let me get one thing straight: I&#39;m all for movies that exist simply because they&#39;re fun. The problem with High Voltage, though, is that it isn&#39;t fun. Really, a more suitable word would be &quot;grating.&quot; Any symbolic &quot;envelope&quot; that might exist as a measuring stick for assessing the credibility of a story isn&#39;t &quot;pushed&quot; (to use the correct verbiage) in this instance; instead, it&#39;s sent straight through the shredder and summarily burned. An attempt to establish the notion that the whole thing should be taken as something akin to a video game is established early on (by way of several stylishly rendered 8-bit title screens), but that doesn&#39;t excuse the sloppy, frenetic editing or the unbearably lewd antics of the now revived—yes, he survived his fall from a helicopter some 14,000 feet in the air—Chelios.<br/><br/>There&#39;s even an attempt to take the whole &quot;video game&quot; connotation to a subtextual level when we&#39;re given a flashback to Chelios&#39; childhood appearance on a talk show. As the short-haired youth rattles off obscenities, we listen to his mother as she tries vainly to explain to the audience that she couldn&#39;t possibly deny her son of his precious vids. After all. what kind of mother would that make her? During her stunted plea for mercy, Chelios answers questions in such a manner as to suggest that he has no father figure, further complicating any psychological aggression which now seems entirely (please note the sarcasm) justified.<br/><br/>This heavy handed attempt at developing a meaningful/culturally applicable agenda flies squarely in the face of a film that exists solely for the purpose of satisfying the most primitive desires of an audience trembling from the over-consumption of Pixy Stix and bucket- sized soft drinks.
If you have a propensity for motion sickness you would be best served staying away. This movie is Tarantino on speed, and without focus and style. It is in-your-face and proud of it with no apologies.
Crank: High Voltage is an action-thriller written by film-makers Mark Neveldine and Brian Taylor, who also co-directed the film. It is a sequel to <a href="/title/tt0479884/">Crank (2006)</a> (2006). Crank: High Voltage picks up immediately where the first one finishes, there is a three month gap, and then the film continues, Chev (<a href="/name/nm0005458/">Jason Statham</a>) falls out of a helicopter. At the beginning of Crank: High Voltage, it shows Chev being removed from the scene by a snow shovel. He then wakes up in the hospital, after having his heart transplanted. Whatever it be, it&#39;s a MacGuffin, an object used to thrust forward a story but often never identified. The leaves the actual interpretation of the item in the film to the viewer. The way Chev Chelios describes the unknown object that&#39;s inside the box after he opens it suggests that it&#39;s something very disgusting, e.g., an illegal drug, somebody&#39;s body part or possibly something pornographic. During the first part of the credits, Doc Miles places Chev&#39;s heart back in (although we don&#39;t see what he does with Poon Dong) while Eve watches (due to the fire, Chev is covered in full-body bandages). At first, it looks like a failure, but after everyone leaves, Chev&#39;s eyes open, and his heart is heard beating. In addition, there are several bloopers shown after the credits begin.
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