← Back to Directory
The Italian Job
Movie

The Italian Job

2003Action, Crime, Thriller

Woke Score
2
out of 10

Plot

Led by John Bridger (Donald Sutherland) and Charlie Croker (Mark Wahlberg) a team is assembled for one last heist to steal $35 million in gold bars from a heavily guarded safe in Venice, Italy. After successfully pulling off the heist, a team member, Steve (Edward Norton), driven by greed and jealousy, arranges to take the gold for himself and eliminate the remaining members of the group. Thinking the team dead, he returns to Los Angeles with the gold. Charlie and the survivors of this betrayal follow Steve to L.A. to exact revenge against the traitor. Charlie enlists the help of John Bridger's daughter, Stella (Charlize Theron) - a professional safe cracker - to get revenge. With Stella and the hacking skills of Lyle (Seth Green), the explosives skills of "Left Ear" (Yasiin Bey), and the driving skills of "Handsome" Rob (Jason Statham) this new team plans and executes a daring heist that weaves through the freeways and subways of L.A.

Overall Series Review

The Italian Job (2003) is a conventional heist and revenge film focused entirely on action, technical skill, and a compelling plot of betrayal. The narrative centers on a team of expert criminals—Charlie the planner, Handsome Rob the driver, Lyle the hacker, Left Ear the demolitions expert, and Stella the safe-cracker—who seek justice and gold from their treacherous former partner, Steve. The film's core themes are loyalty and technical mastery. The ensemble cast includes actors of different races and a prominent female professional, but all characters are judged and utilized purely by the merit of their specialized skills. The movie avoids engaging with any ideological or social commentary, maintaining a secular and amoral focus on the mechanics of crime and consequence.

Categorical Breakdown

Identity Politics2/10

The ensemble cast is racially diverse, featuring a Black demolitions expert and a multiracial team, but this diversity is a natural result of assembling a crew of skilled professionals. No part of the plot involves a critique of 'whiteness' or an overt lecture on intersectional hierarchy. The villain is a white male, but the protagonist and several heroes are also white males, all judged only by their personal actions and merit as thieves.

Oikophobia1/10

The movie shows no hostility toward Western civilization. It is an American film largely set in two Western locations, Venice and Los Angeles, which are used as settings for an exciting caper. Institutions like the police are merely obstacles to be circumvented. The central conflict is entirely personal (betrayal and revenge) and material (gold), not a deconstruction or demonization of home culture or ancestors.

Feminism3/10

Stella Bridger is a highly competent female professional who is a licensed safe-cracker before joining the revenge heist. Her role, which was male in the original 1969 film, establishes her as a skilled and essential member of the team, successfully operating in a traditionally male domain. She is a 'Girl Boss' type, but male characters like Charlie and Handsome Rob are not depicted as incompetent, only the villain is shown as corrupt and toxic. The narrative is driven by her filial revenge for her father, not an anti-natalist or anti-family message.

LGBTQ+1/10

The film contains no themes or characters related to queer theory, alternative sexualities, or gender ideology. It operates entirely within a normative structure where sexual orientation is private and irrelevant to the plot of theft and revenge. Heterosexual flirtation is confined to the side plot of the 'Handsome Rob' character.

Anti-Theism2/10

Religion is absent from the movie's thematic landscape. The film is a secular story about crime, betrayal, and money. It does not actively critique or vilify Christianity or any other religion. Morality is based on personal loyalty and the pursuit of vengeance/justice for a fallen teammate, a purely secular honor-among-thieves code, representing a spiritual vacuum by omission rather than an active anti-theist message.