‘Premium Rush’ pedals an escapist story

The skeleton of “Premium Rush” is as old as the movies — a chase. It’s how the skeleton is fleshed out that makes the movie such loopy, crazed, dangerous fun.

Writer/director David Koepp mixes sharp dialog and a hip tone to create a nail-biting, seat-squirming thriller about a bike messenger. It’s an escapist blast.

The film stars Joseph Gordon-Levitt, whose presence these days is almost a guarantee of a great movie. He plays Wilee, nicknamed after the tenacious coyote in the Road Runner cartoons.

He’s a law school grad, but he’s addicted to the adrenaline surge of dodging death on Manhattan’s chaotic streets.

In a voice-over of telegraphic brevity he introduces himself, “I like to ride. Fixed gear. No brakes. Can’t stop. Don’t want to either.” The exhilaration on Gordon-Levitt’s mug as he negotiates serpentine lane shifts is joyous to behold.

He takes in every option in an instant, visualizes potential hazards and collisions, then fearlessly weaves and bobs through the least-lethal alternative. The chorus of screeching brakes, blaring horns and profane suggestions he inspires is music to his ears.

He’s part of a bustling, competitive bike-delivery service, where every supporting role is cast to wicked perfection. Spandex-clad hot dog Manny (Wole Parks) is Wilee’s rival for deliveries, and for the affections of alluring Vanessa (Dania Ramirez).

Wilee aims to wheedle his way back into her good graces by handling a high-priority drop for her roommate. But volatile Bobby Monday (Michael Shannon) wants that thin envelope too. And he has a car. And a gun. And an NYPD detective’s badge.

Once the no-flab story is set in motion, it rockets along with breakneck velocity, with Vanessa, Manny and a hard-charging bike cop (Christopher Place) joining the dash.

Koepp executes the hide-and-seek, cat-and-mouse crosstown chases in visually striking style.

He divides the story into non-chronological chapters, handling the time shifts adroitly, staying on track and keeping us guessing. He goes easy on the violence, and when he does unleash it, it’s fast, impressive and terrible.

Rather than force-feeding us the usual action-thriller gimmicks — sneering drug lords, secret microchips, government coverups — Koepp gives the plot a pleasing plausibility, and rich dashes of New York City local color.