Takers has all the requisite elements of a heist thriller. It’s got a crew of high-rolling, implausible stunt-performing, helicopter-detonating, walking-together-in-slow-motion bank robbers. It’s got a gruff, troubled cop who plays by his own rules (Matt Dillon). It’s got a pulverizing soundtrack and is so thoroughly saturated with testosterone that Roger Clemens could have injected it. What it doesn’t have is any kind of fresh take on the one-last-job genre, relying instead on set pieces pilfered from superior crime films, including the True Romance-biting climactic shootout. Nor does it offer any sense of why the audience should care which of the caricatures---er, characters---take the bullets and which take the briefcases filled with unmarked bills. Loud and lunkheaded, Takers is a heist movie undermined by stolen ideas.