Tantalizing at first and then increasingly tedious thereafter, Repo Men has a sci-fi set-up primed to deliver commentary on our callous, insufficient health care system, and then doesn’t do so. Lay the blame squarely at the feet of director Miguel Sapochnik and writers Eric Garcia and Garrett Lerner, who after establishing a near-future in which the sick purchase pricey artificial organs from private companies, and have them surgically removed by the titular grim reapers if they don’t keep up with monthly installment payments, use it for nothing more than a tepid action-chase thriller. In this dystopia, which in its billboard-enhanced aesthetic closely resembles Blade Runner, expert repo man Remy (Jude Law) chooses, after much nagging from his wife (Carice van Houten), to give up his slice-and-dice job to become a desk-jockey salesman. This plan doesn’t please his bloodthirsty partner Jake (Forest Whitaker), and doesn’t come to fruition either once he suffers a serious workplace injury and wakes up to find that he’s had a literal change of heart to go along with his figurative one. After firmly establishing his characters and milieu, director Sapochnik does a hatchet-job on Remy’s development of a conscience, and from there, Repo Men spirals into a bloody mess, with Remy – unable to pay for his new mecca-valve – going on the run, falling in love with a cyborg junkie lounge singer (Alice Braga), and being hunted by Jake. Law and Whitaker do their best with so-so material that favors arterial spatter to serious emotional drama, and Sapochnik’s staging of hand-to-hand combat is at least coherent. Unfortunately, his saga is sluggishly paced, of minor consequence, and increasingly derivative in form and content, right down to a slow-motion-enabled corridor slaughterfest lifted from (or an homage to, your choice) Oldboy, replete with cranium-shattering hammer.