Aug 11, 2026 · 1h 45m
The Mini Coopers Steal The Italian Job
‘The Italian Job’ With Bill Simmons, Chris Ryan, and Van Lathan
The discussion explains why a flawed 2003 heist movie remains unusually rewatchable, while testing its stunts, stars, representation, and logic.
- 1Practical stunts, striking locations, and Mini Coopers give the film more staying power than its thin character work.
- 2The hosts argue that an underdeveloped romance, detached villain, and weak final heist keep the movie from becoming a classic.
- 3The episode treats the film as a 2003 time capsule, from Napster references and rap culture to its ideas about representation.
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The hosts select the Venice opening as the movie’s most rewatchable sequence, emphasizing its setting, practical action, and immediate momentum.
The brief
Bill Simmons, Chris Ryan, and Van Lathan revisit The Italian Job as an Ocean’s Eleven–Fast and Furious hybrid, praising its practical stunts, international locations, ensemble energy, and unmistakable Mini Coopers.
The hosts admire Charlize Theron’s rise, Mark Wahlberg’s understated presence, Jason Statham’s action persona, and F. Gary Gray’s command of movement, while questioning the film’s thin characterization.
Ed Norton’s detached performance becomes a career and contract detour, with the discussion connecting his Paramount obligation to the strange energy he brings to the villain.
Venice, the safe heist, the speedboat chase, and the crew-assembly scenes emerge as the film’s strongest material; the Venice sequence wins the rewatchability debate.
The final verdict is affectionate but severe: the romance never earns itself, the police response makes little sense, and the last heist cannot match the opening.
The movie survives as a 2003 time capsule of Napster, rap culture, Hollywood Boulevard, and early-2000s action filmmaking—with the Mini Coopers as its lasting image.
Charlize Theron
F. Gary Gray
Ocean's Eleven
Halle BerryListen to the full episode and explore every guest, topic, and moment on PodLume.