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While never released in America, Blitz is immediately entertaining. This gritty London-based serial killing actioneer might not have the smarts to survive even the most rudimentary of afterthought analysis, but Blitz is a total blast while in the thick of things. Based on a novel by Ken Bruen and whipped into a sense-assaulting fury by director Elliott Lester, Blitz returns Jason Statham to his familiar head-stomping grounds on the rough streets of South East London. There might not be any manhole covers for the plot holes riddled in the streets of the script, but the sheer intensity of the movie is enough to keep things fun and interesting and oh so very violent.
The streets of London get a nasty wake-up call when the blood of those sworn to protect them are routinely gunned down. Havoc-loving police detective Brant (Statham) gets the assignment and, when it begins to hit the press courtesy of a tabloid journalist (David Morrissey), finds himself plagued by a cop killing psycho who goes by the moniker of Blitz (Aiden Gillen). Brant’s new boss Nash (Paddy Considine) makes himself an active participant and the two, in spite of Nash’s derision by the other officers for being openly gay, go on a nasty headhunt through the streets to put an end to Blitz’s murderous crime spree.
Statham grunts, growls, and hammers his way through the film and gives his fans plenty of moments to cheer, cherish, and celebrate. While it isn’t the best part he’s ever had (nor is Blitz the best movie of his career), he’s certainly convincing as a soldier of smackdowns and street thug justice. At once, he’s politically incorrect and savage, yet hunkers down to dollop out his particular brand of justice. Gillen, as the psycho, practically rolls around in crazy-sauce throughout the film and works his ass off to steal almost every scene he’s in. Considine plays against type and the chemistry he shares with Statham makes for one-two punch to the gut.
Lestor’s quick-paced urban sequences rip across the screen with searing energy. There are plenty of high-risk fight scenes and a gnarly street chase that uses location and daredevil theatrics to the extreme. The edits are swift and build in momentum to reveal a none-too-veiled commentary on the uselessness of standard police tactics. While in the same genre vein as The Bank Job, this British crime thriller doesn’t quite share the same intelligence. It’s quickly pulled apart by logic and conversation.
Consider Blitz a Dirty Harry latte with extra foam.
MPAA Rating: 
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