Chelios faces a Chinese mobster who has stolen his nearly indestructible heart and replaced it with a battery-powered ticker which requires regular jolts of electricity to keep working.Chelios faces a Chinese mobster who has stolen his nearly indestructible heart and replaced it with a battery-powered ticker which requires regular jolts of electricity to keep working.Chelios faces a Chinese mobster who has stolen his nearly indestructible heart and replaced it with a battery-powered ticker which requires regular jolts of electricity to keep working.
- Awards
- 1 win & 2 nominations
J.J. Soria
- Chico
- (as Joseph Julian Soria)
Geri Horner
- Karen Chelios
- (as Geri Halliwell)
William Brent
- Young Chev
- (as Billy Unger)
- Directors
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaAdult film star Ron Jeremy was not originally supposed to be in the porn actors strike in the film. He had assumed that the directors merely forgot to call him and showed up on set. As a result, all of his dialogue was improvised
- GoofsWhen Chelios and Eve fall to the racetrack, they would have been right beside the bleachers. A shot a few seconds later shows them in the middle of the racetrack, 30 feet away.
- Quotes
[repeated line]
Various: Fuck you Chelios!
- Crazy creditsOutakes are shown during the end credits.
- Alternate versionsGerman DVD release was cut by approx. 2,5 minutes to secure a "Not under 18" rating. For the "Not under 16" version more than eight minutes were removed.
Featured review
Crank 2: High Voltage practically begs to be passionately loathed by absolutely everyone, with the notable exception of antisocial teenage boys. Its rank, nihilistic tone is relentless and exhausting. The misogyny is benchmark horrendous. The acts of violence are brutal, frequent and often blatantly homoerotic. Its flippant. Its homophobic. Its vulgar. And it feels as much seething contempt for its own narrative coherence as it does for its few prominent female characters.
But there is something bracingly brilliant about it. Films this fearlessly unhinged simply do not get made any more, and thirty years ago this would've played, late at night, to packed houses for years on end, perhaps aptly bundled with the likes of John Water's Pink Flamingoes.
One fact that was suggested by the first Crank is set heroically in stone barely five minutes into its sequel - that directors Mark Neveldine and Brian Taylor appear to be completely obsessed with pornography. There is a truly jaw-dropping amount of flesh on constant display, and the film's only female speaking parts belong to a prostitute and a stripper. This lends the film an air of uncomfortable, almost lavatorial sleaziness, until a bunch of actual porn stars turn up in the middle of a scene, starring as a bunch of disgruntled porn stars striking for better pay. Although it hardly passes as satire, it does seem like a sly dig in the direction of the producers that populate the Hollywood mainstream, who'd surely relish the opportunity to make films like this if only the bastard machine would let them. Balls-out exploitation it may be, but if any film lives up to cinema's ancient adage of providing its audience with relentless sex and violence, its this one.
The second half of the film is where it really flies, and chooses to disregard not only its own plot, but any care for the patience or expectations of its audience. It goes, essentially, mad. And for something that was clearly deranged in the first place, it'd be foolish for me not to offer up the only advice that will enable you to see exactly what I mean.
Go and see it.
But there is something bracingly brilliant about it. Films this fearlessly unhinged simply do not get made any more, and thirty years ago this would've played, late at night, to packed houses for years on end, perhaps aptly bundled with the likes of John Water's Pink Flamingoes.
One fact that was suggested by the first Crank is set heroically in stone barely five minutes into its sequel - that directors Mark Neveldine and Brian Taylor appear to be completely obsessed with pornography. There is a truly jaw-dropping amount of flesh on constant display, and the film's only female speaking parts belong to a prostitute and a stripper. This lends the film an air of uncomfortable, almost lavatorial sleaziness, until a bunch of actual porn stars turn up in the middle of a scene, starring as a bunch of disgruntled porn stars striking for better pay. Although it hardly passes as satire, it does seem like a sly dig in the direction of the producers that populate the Hollywood mainstream, who'd surely relish the opportunity to make films like this if only the bastard machine would let them. Balls-out exploitation it may be, but if any film lives up to cinema's ancient adage of providing its audience with relentless sex and violence, its this one.
The second half of the film is where it really flies, and chooses to disregard not only its own plot, but any care for the patience or expectations of its audience. It goes, essentially, mad. And for something that was clearly deranged in the first place, it'd be foolish for me not to offer up the only advice that will enable you to see exactly what I mean.
Go and see it.
Details
Box office
- Budget
- $20,000,000 (estimated)
- Gross US & Canada
- $13,684,249
- Opening weekend US & Canada
- $6,963,565
- Apr 19, 2009
- Gross worldwide
- $34,572,541
- Runtime1 hour 36 minutes
- Color
- Sound mix
- Aspect ratio
- 1.85 : 1
Contribute to this page
Suggest an edit or add missing content