It sounds odd that I had never seen True Lies until just a few months ago. I always had a little tinge of interest in it, but until recently, I just never capitalized upon it. I do think James Cameron has done some marvelous work over the years, and it’s nice to see that he did take the chance to do something more fun-filled after a lot of films of thematic heaviness. While I didn’t love True Lies, it does have its great strengths and unfortunate weaknesses wrapped up in a very entertaining spy thriller.
Special agent Harry Tasker (Arnold Schwarzenegger) is a top spy in the ultra-secret Omega Sector – although to his wife Helen (Jaime Lee Curtis), he’s just a boring computer salesman. When Harry’s two lives unexpectedly collide, both he and Helen find themselves in the clutches of international terrorists, fighting to save not only their marriage, but their lives.
In what I believe is a rare occurrence, I actually agree with Gene Siskel and Roger Ebert about this film, in most part. The opening and ending are great, exciting, engaging action excellence, but the middle section is drawn out and throws the film off the rails a little. This is in relation to the entire Bill Paxton segment where Harry Tasker learns that Helen has been seeing another man on the side who feeds her false stories of him being a secret agent. Paxton’s character turns out to be a sleazy used car salesman conning women with his tales of international espionage and intrigue, and Harry proceeds to use his resources to pull one over on the guy while attempting to inject some excitement into his marriage via subterfuge. This segment is not a bad idea, but the fact is that it is dragged out for over thirty minutes and runs through some overly long comedic bits. There is so much that could have been done to chop this down considerably and make it far more snappy and to the point.
I hate to keep being proven right about my reservations about James Cameron’s lax storytelling post-The Terminator, but the evidence keeps surfacing with every film of his I see. When he had a tight, restrictive budget forcing him to be innovative in a constrained run time, he put together a film of tight rhythm and energy. Once he was given larger and larger budgets, and was allowed to indulge himself on screen, he began to slow down the pace of his films with extended second acts that could have definitely been tightened up for a more punchy experience. The other problem with this divergence in focus is that the actual plot with our villains vanishes for the entire time the film is concerned with this marital infidelity plot. With such a thrilling action chase scene to build up the film’s villain, the movie wholly shifts focus away from that plot, and a lot like the T-1000 in Terminator 2, the actual villain is completely absent for most of the second act of the movie. He only reappears when the movie realizes it needs another action sequence. If Cameron could have found a way to keep both the action centric terrorist / secret agent and married life plots going by interweaving them, I believe that would have been great, but it’s ultimately much more compartmentalized until the third act arrives.
Regardless, Cameron is still able to direct some of the best action sequences to date. The opening escape sequence is explosive and smart with the right amount of wit and sly humor. Indeed, I was vastly impressed with the chase sequence that starts off with a public bathroom fight and shootout, and then, sees the film’s villain, Aziz, take off on a motorcycle and Harry pursues him on horseback. They gallop and zoom through Washington, D.C. streets, stores, a shopping mall, elevators, and a high rise balcony. Cameron pushes this sequence to the absolute most fun hilt, and it proves to be very original and imaginative. The climax of the film with the helicopter rescue from the out of control limousine, and then, the fighter jet explosive awesomeness really makes this one of the biggest Schwarzenegger action spectacles ever. These are some of the most incredible action sequences that either James Cameron or Arnold Schwarzenegger have ever been involved in, and they deserve to been seen by any serious action movie fan.
And Arnold Schwarzenegger really does seem to do some of his best, most dynamic work with James Cameron. The two clearly work so perfectly together based on a very trusted friendship and collaboration. This time out, Arnold gets to be more light hearted and fun. Harry Tasker is a clever character who thinks on his feet, and improvises some tight scenarios with suave charisma. By no doubt, there are some James Bond comparisons you could make, but that can be done with nearly any secret agent action movie. Harry’s a light-hearted, caring family man who is not nearly as adept at his home life as he is in espionage.
Jamie Lee Curtis is really fun and solid as Harry’s wife. We get to see her go from this simple, wholesome, innocent woman to a more empowered, assertive character. Yeah, Helen has to liberate herself with a sexy striptease, but it’s really just done in good fun in the film’s context. Helen is attracted to Bill Paxton’s character because he tells her exciting stories of peril and danger, and so, Harry chooses to give her an adventure of her own. Curtis really embraces the role in all its facets giving us a sweet character that is able to rise to the task of danger and peril.
Now, it does seem to take the right director to craft Tom Arnold’s humor down the correct path. Surely, many have found him annoying or obnoxious elsewhere, but he really hits all the comedy beats just right. He never pushes it over the edge, and doesn’t come off like a buffoon, which would have been extremely easy to fall into. Him and Schwarzenegger have very good chemistry playing off of one another lightly and naturally.
On the far more serious side, Art Malik has a great threatening look of intensity to him that perfectly aids him as the film’s villain, Salim Abu Aziz. He’s an excellent fit for this ruthless, violent radical terrorist who consistently proves to be a major adversary to contend with. He truly added the serious counterweight the film required to the light hearted tone it employs throughout. His partner in crime is Tia Carrere’s Juno Skinner, a slight femme fatale that catches Harry’s attention early on. Surely, Carrere has never been a great actress, but she does quite good work under Cameron’s direction being charming and alluring when necessary as well as cutthroat and vile when the facades are dropped.
In some smaller roles, you’ve got Charlton Heston in a solid, brief appearance as the head of Omega Sector baring a nasty scar and eye patch. This sort of shows that True Lies is not taking itself too seriously. It’s allowing a little satire and jokiness to seep into the flavor of the picture. Also, Eliza Dushku appears in an early role as Dana Tasker, Harry and Helen’s daughter, and she does a great job showcasing a lot of tough attitude and dimension she would come to be known for. Everyone in this cast really does a fine, respectable job with Cameron’s material. It’s both a fact of good casting and solid directing.
This was James Cameron’s follow-up to Terminator 2 after he took a few years off, and in that time, visual effects continued to evolve a little. Largely, the digital effects work is very subtle not requiring anything so innovative as a liquid metal cyborg assassin. Yet, it’s interesting to see that today, you’d like see those Harrier fighter jets done mostly as CGI in most shots, but here, we get the real thing on film and it looks exponentially superior to any digital effect. The green screen shots are about as good as they get, and Cameron uses as many practical elements to give the action set pieces a very realistic weight. This is just how digital effects should be used – to aid and enhance the practicals in addition to achieving what little practicals cannot achieve. The use of practical effects adds more realistic weight to everything that I immensely appreciate.
True Lies is a very entertaining film with a fun mixture of concepts that is much lighter than your typical James Cameron fare. I think every idea he had here is solid and when it clicks, it excels beyond expectations. That is essentially the action-centric plot aspects, and while the humor is greatly well done, it dragged down the middle of the film. I honestly feel that humor works best when it’s snappy, sharp, and punctuated correctly. The comedy segments of True Lies are drawn out too long, and diverge the film away from its more exciting aspects. I believe the script could have been tightened up in that second act by shortening some of these sequences, and resulting in a sharper and more to the point second act. I do like the idea of showing the light-hearted suburban home life of this international secret agent, and the fun marital twists and turns that Harry and Helen take. However, I feel the film eventually forgets to meld its ideas together for a long period, and diverges away from the action film aspects for too long. Just when the secret agent plot was getting interesting and truly exciting, it ditches it for a good half an hour.
Regardless, I would still recommend True Lies. As I said, the action sequences are spectacular on every level showcasing the best of what Arnold can do, and demonstrating that James Cameron is one of the best directors of action out there. His dynamic visual style is wonderfully realized by Russell Carpenter’s exceptional cinematography. He didn’t work with Cameron on any other picture, but that would be hard to tell because the film has all of Cameron’s visual signatures. The blue, moody tones and great camera work with excellent close-up shots and push-ins all punctuate what you expect from James Cameron, and Carpenter truly hits it all dead on the mark. There is plenty of entertainment value to gain from True Lies, but even despite the R rating, it’s fairly light on graphic violence. So, in a way it appears more tame than previous Cameron or Schwarzenegger action films, but for the lighter tone used here, it seems more appropriate. As I said, I feel the film could benefit greatly from a tightening up of its humor, or at least, allow the secret agent action plot and the family life comedy to interweave in that second act. As it stands, the film veers off track for a good thirty minutes in the middle, and doesn’t get back on track until the terrorists burst back into the film in a rather unexplained fashion. It’s all good stuff from start to finish, but I just feel it would have worked better in a tighter package.
Stallone and Schwarzenegger finally teaming up in a big action movie should be a major event, and Escape Plan seemed like it had that potential from the trailer and the general premise. In the right hands, this could have been forged into a highly entertaining and exciting film. Unfortunately, at no fault of Stallone or Schwarzenegger, Escape Plan falters in a lot of ways stemming from the fact that it’s backed by a director, screenwriters, editor, and cinematographer that really have nothing of good, special note to their credits, and that really shows.
Ray Breslin (Sulvester Stallone) is the world’s foremost authority on structural security. After analyzing every high security prison and learning a vast array of survival skills so he can design escape-proof prisons, his skills are put to the test. A new, shady job to test out a CIA prison facility goes awry when he is abducted and incarcerated in a master prison designed based on his analytical work. Once inside, he finds an ally in fellow inmate Rottmayer (Arnold Schwarzenegger) who agrees to help him find a way out. Now, Breslin needs to escape and find the person who put him behind bars.
This is not a bad movie, but it has a number of obvious flaws that prevent it from really capitalizing on its assets. Escape Plan’s problems really begin with the screenplay. I don’t think this movie is very well written, let alone well executed. Firstly, the film becomes so pre-occupied over and over again with showcasing Ray Breslin’s long-winded analyses and exposition of his elaborate escape plan scenarios that it sucks up valuable, extensive screentime for it. Screentime that could have been used to actually establish and develop some characters and personalities in this movie. A good screenwriter could have deconstructed these moments far better and streamlined them for a much snappier, more succinct narrative. Instead, screenwriters Miles Chapman and Jason Keller decide to overcomplicate matters to the detriment of the film. For a while it seemed like Schwarzenegger’s character was merely there to give Stallone someone to dump exposition upon because it was so bluntly handled, and it doesn’t progress too far beyond that. Anyone who has read my reviews before knows how in-depth I go into performances and characters, but there is really next to nothing to comment on about these performances. It’s not a fault of the actors, but the material they are given.
I own a good thirty movies starring Stallone and/or Schwarzenegger with Rocky III and Predator being my respective favorites of theirs. I’ve seen them in great movies and bad movies, but they’ve always delivered on their exceptional charismatic screen presences. Here, there’s just extremely little material for them to inject any charisma into because it is so entrenched in exposition. There are one or two sparks of fun chemistry between them, but it’s very fleeting when that’s exactly what should have been here in abundance. What depth of character we get is merely a few lines of dialogue talking about a single aspect of their back stories, which is just more exposition and doesn’t give us much of a personality to grasp onto. There’s more gained from Breslin than Rottmayer, but it’s very marginal. The fact of the matter is that the script is very flat and unimaginative. If Stallone and Schwarzenegger were not cast in this movie, I don’t think I’d care to maintain any attention on Breslin or Rottmayer at all because the screenwriters do nothing to actually create any characters to care about.
However, even if the characters aren’t all that interesting or dimensional like Marion Cobretti or John Matrix, if the film they are placed into is exciting and entertaining enough with clever, sharp dialogue, it can still work and bring out the better qualities of the actor. Unfortunately, while Escape Plan maintains a solid pacing that doesn’t make it feel like a nearly two hour long movie, the action is very minimal. There are some prison riots, a few beat downs, and an attempted prison break or two, but in terms of straight up action like shootouts and fights with the villains, there’s very little until the climax. The film was a decent, easy watch, but never did anything ever come out and blow me away. There are even points in time where it seemed like it was edging towards something purely awesome, but then, it comes up quite short. So many things factor into that including some poorly structured and executed sequences.
To that point, the editing in many cases is very incoherent. The prime examples are that there are montages of sorts showing Breslin getting tortured, or simply showing his plans going into motion. These sequences are so sloppily edited that I couldn’t understand the narrative or linear flow through them at all. They’re a real mess of chronology that was quite confusing. Tying into that is the flat, bland direction that really never gives life to the proceedings of the plot. Intercutting between The Tomb and Breslin’s team throughout the second act just felt clunky and uneven. There’s little coherency or urgency put into what Breslin’s team is doing to give a crap about them. They ultimately don’t do crap until the last three minutes of the movie, anyway. And those characters are poorly conceived and flatly written to be either very obvious or simply not worth devoting your attention or interest in. Again, the actors aren’t bad, they just have crap to work with. Scenes are just strung together very haphazardly giving you a lack of context, narrative flow, or natural segues. While I’m certain that a better editor couldn’t have radically improved this movie, it at least would have made it far more coherent and smoother.
Now, the only real shining quality of this movie, which is also the one person who seems to be having a delightfully fun time, is Jim Caviezel. His villain of Warden Hobbs is very charismatic, smarmy, and particularly sadistic, but Caviezel avoids going over the top. He keeps it low key and fairly subtle while still delivering an especially enjoyable adversary. He definitely was putting his full commitment into this role, and he embraces it with plenty of imagination and zeal. I love the little nuances he adds to Hobbs such as being very meticulous in his appearance and manner. Caviezel is an actor I really like I lot from The Count of Monté Cristo to Outlander to Person of Interest, and seeing him as a villain here is wonderfully entertaining. He made the movie particularly enjoyable, and Vinnie Jones does quite a charismatic job as Hobbs’ right hand man Drake. There’s also an unexpected appearance by Sam Neill as the prison doctor. He also does a fine job with what little he is given to do. It’s clearly another case of having an actor I really like making the role any bit enjoyable or interesting for me.
Escape Plan attempts to have some semblances of plot twists or turns, but some are so obviously telegraphed or simply amount to nothing that you wonder what the point was. I believe to have a good movie you really have to start with a good script, and this movie didn’t have one. Even then, this film needed a far better, more talented director to maximize its potential. If you handed this project over to a highly experienced action director like Renny Harlin, John McTiernan, Walter Hill, or, if he were still alive, George P. Cosmatos, I think this could have had some potential for success. They would have molded and refined the story and given it the competency and life it needed. They also would have tailored the script to the strengths of it leads so that charisma and personality could have lived and thrived on screen. Alas, we are left with the movie we have, which is probably good for a rental, but not much better. There’s no need to see Escape Plan on the big screen, unfortunately.
I think it goes without me saying that Predator is one of the best action films, ever. More importantly, this is my favorite Schwarzenegger movie. Smartly directed by John McTiernan, who would helm Die Hard the following year, this is an excellently plotted and cleverly devised concept utilizing a stellar cast to great effect. With an alien hunter designed by the masterful Stan Winston, and backed by some of the best visual effects of the time, Predator was an instant classic that truly solidified Schwarzenegger’s career as a blockbuster action star.
Recruited by the CIA to rescue hostages held by guerrilla fighters in a Central American country, Major Dutch (Arnold Schwarzenegger) and his elite team encounter an enemy unimaginably more deadly than any on Earth – because the Predator is not of this Earth.
The film starts out wasting no time by keeping the exposition succinct, and allowing for this team to progress to their objective quickly while still relating these characters to us. No one’s explored in depth, but you get a clear, personality rich snapshot of each man. Blain’s a hard ass, Hawkins is kind of a joker, Billy’s the stoic warrior, and so on. The entire first act sets up who these guys are, and what they are capable of. We see this is an expertly efficient team able to wipe out a legion of about thirty Central American soldiers within a few minutes. They are tactically sound striking hard and fast using the element of surprise. When Dutch’s team is referred to as “the best” early on in the briefing scene, we see that is not at all an exaggerated statement. They prove they are the elite, but even then, you can see these guys are spooked by this jungle. “Makes Cambodia look like Kansas,” sets the tone for how unnerved they are by its terrain and ominous feeling. Encountering the previous team’s skinned corpses surely rattles them a bit, but they never lose their wits. In fact, it practically heightens them for the more lethal danger that is stalking them.
Schwarzenegger shines here as Dutch. In addition to everyone else, this is possibly his most quotable movie. Arnold’s got that charisma going here with energy and authority. I love that Dutch is a soldier with a code of ethics for his men. He states straight out that his men are not assassins, merely an elite rescue team, and we see that conviction arise when he learns of Dillion’s deception. Schwarzenegger shows Dutch to be an honorable and sharply intelligent soldier commanding his men with precision. He proves himself to be a cunning warrior gradually picking up on the Predator’s methods, and adapting to them in order to survive. He’s perceptive and level headed, which is undoubtedly the sign of a great soldier. I think this definitely one of Schwarzenegger’s finest performances demonstrating the ability to realize a very authentic, dimensional, and smart character. Not to mention, I don’t think he’s looked so awesome on-screen without delving into a cheesy or campy tone.
Bill Duke especially does a touchingly effective job. Early on, he is a hardened soldier, but after Blain is lost, you see the grief and turmoil wash over him. Carl Weathers is great here as well portraying a man who was once a trusted friend of Dutch’s that has been corrupted by the “everyone’s expendable” mentality of a pencil pushing desk jockey. He’s lost sight of the qualities of a soldier and the value of life. However, we see him turning the corner as he rushes into his final battle, and I really like seeing that small character arc. Overall, this is a rock solid cast flexing both their acting muscles and their real ones in pure 80’s action movie bad assery. They all exhibit distinct personality that are vibrant, memorable, and straight up killer.
What it is that we lose with CGI monsters as opposed to a real life performer is exquisitely evident here. Kevin Peter Hall inhabited that beautifully textured and crafted Stan Winston suit, and created a character to live and breathe through it. Compare it to the personality deprived CGI creatures from Cowboys & Aliens. They were, as I said in that review, “just creatures designed to fill up the plot, and serve as a physical enemy to combat.” They had no distinct characteristics that made them any better than the Imperial Stormtroopers in Star Wars. The Predator has nuanced qualities that reflect an intelligence and cunning behavior. He’s a unique individual amongst a unique race. How he moves, reacts, and assesses a situation bring a subtle and intriguing depth created by Kevin Peter Hall’s amazing performance. It has all the traits of a talented performer crafting a character, and I am so tremendously glad that this franchise has never abandoned the performer in the suit approach.
As I’ve said in many previous reviews, the work of Stan Winston is legendary, and stands the test of time. He clearly revolutionized the creature effects industry with his artistic craftsmanship and captivating imagination. The Predator is an astonishing creation in all facets. The original creature the filmmakers put together for this film was ridiculous and was quickly jettisoned after only a few days of filming. Winston was called in, and with a little input about mandibles from James Cameron, this iconic, ferocious, and frightening creature was born. Beyond that, this is a very graphic and brutal film showing you skinned human bodies, spinal cords ripped from carcasses, and a disemboweled Jesse Ventura. Everything feels so grisly and textured for a greatly realistic feeling. This is some of the best gore effects I’ve ever seen.
And these visual effects essentially still hold up to this day. Certainly, the sequels have shown how digital effects can be used to improve and enhance them, but this is impressive work that hardly feels dated. This is mainly between the Predator’s cloaking technology where he appears as transparent ripples, and the laser sighting and discharges from his plasma cannon. There are some especially impressive shots featuring the cloak with more dynamic camera angles and motion where you get the real three dimensional quality of it. You see it’s not some animated effect, but a real optical composite of a real performer. These are all excellent visual effects.
This all blends perfectly with the gritty, sometimes smoky atmosphere of the film’s look. I think John McTiernan’s great eye for composition, interesting angles, and well constructed action shines through. In this jungle, we get the feel of the dangerous terrain and mysterious qualities of the dense foliage. The grit grounds this science fiction premise in a visceral reality where consequences are severely violent and lethal. Great camera movements and stylish, dramatic imagery highlight the artist merit of the cinematography, and it is all expertly edited together for a tight film which propels itself forward from the get go. .
Alan Silvestri put together one amazing score for Predator that has endured for the whole franchise. He incredibly blends a militaristic march and drive with a primal tribal, jungle beat. He builds a sense of ominous foreboding reflecting the reality that there is something out there stalking these men. For the majority of the climax, there is next to no dialogue of any sort. It is carried along by the action, the visuals, and the exhilarating score which enhances all of the tension, apprehension, and danger that is unfolding. It is perfect, superb work.
The action hits you at a regular clip, and the first main sequence is majorly explosive. It sets the bar high for the remaining runtime, and McTiernan is able to meet that challenge. It’s the mix of tension, the unknown, and the sheer scale of this rapid fire, big gun toting, grenade launching explosiveness that makes that possible. Yet, McTiernan knows how to build it up, and work the subtle strings of an audience’s anticipation. The danger escalates, and the peril becomes more immediate as the Predator moves in closer and closer to its prey. He starts out attacking from a distance, but gradually engages his ultimate trophy – Dutch – in close combat because the Predator views him as a highly worthy adversary
And that entire third act where it’s just down to Dutch and the Predator is a masterpiece. The strategy and makeshift tactics that Dutch puts together play out brilliantly. He uses the Predator’s own method of invisibility and striking from a distance to his advantage. However, it all elevates when the two finally meet face-to-face in a straight physical confrontation. Everyone knows that Arnold is a BIG guy, but next to this hulking seven foot tall alien beast, he looks small and nearly ineffectual. It’s only by his smarts and wits is he able to survive.
Predator is filled with chest pounding action and excitement wrapped in a smart concept and script. Backed up by an excellent action director, and a vibrant, colorful cast lead by Arnold Schwarzenegger, it was a surefire formula for success. This is why I love Predator. It never lags anywhere as the pacing is tight and the rhythm is consistent throughout right from the start. It’s really a near brilliant structure which constantly keeps you invested and intrigued by what’s developing here. You also can’t not quote the living hell out of this movie. It’s sharp, witty, but never betraying the serious tone of danger and lethality it sets from the beginning. It’s an absolute success that holds up incredibly well over time. I entirely intend to give you reviews on both Predator 2 and Predators sooner than later. Until then, revisit this classic.
This is an overlooked gem in Arnold Schwarzenegger’s filmography, in my opinion. It’s an action film that I’ve loved for many, many years back to when I bought the widescreen VHS in a nice clamshell case. Today, I’ve got the bare bones DVD which still presents the film beautifully. I had intended to devote January to being a Schwarzenegger month with a slew of reviews of his films, but let’s say I’ll be getting around to those throughout the year. Today, it’s a fun look at Raw Deal!
A Chicago Mafia is violently doing away with witnesses who were to incriminate them in court, making it clear to the FBI that they have a leak of information in their ranks. Mark Kaminsky (Arnold Schwarzenegger) is an ex-FBI Agent, a former FBI agent forced to resign from the Bureau due to excessive violence, is now a small town sheriff. FBI Chief Harry Shannon (Darren McGavin), whose son has been killed by a mobster named Petrovita (Sam Wanamaker), enlists Kaminsky in a personal vendetta with a promise of reinstatement into the FBI if Patrovita is taken down. Kaminsky eagerly accepts the challenge and is prepared to infiltrate and tear apart the Patrovita machine without the consent, knowledge, or protection of any law enforcement agency. But once he’s in, he can’t get out and when a gorgeous mole is paid off to betray him, he becomes trapped in a deadly game where loyalty means nothing and there is only one person he can trust. Using his own brand of justice, he begins an action-packed journey into the murderous world of the mob and will stop at nothing until he has successfully completed his mission.
This is definitely a bit of a different story than you would usually find Arnold in. Something about corruption in law enforcement and mobsters warring on the streets of Chicago is a little different than secret agents, commandos, or ass kicking cops. However, Arnold fits comfortably and sharply into this context. We usually see him in more straight up action roles, but Raw Deal required Schwarzenegger to be more slick and smart in how his character operates. That classic Arnold charm is what really propels him through most of it. A confident, smooth manner is what takes care of the rest. There’s enough wit and smarts in his performance to maintain that sly sensibility to keep Kaminsky likable and entertaining. Yet, Arnold is able to bring out the tough bad ass competently and effectively. As is no surprise, he’s excellent in every action scene with plenty of physical combat to get his hands dirty.
There are a lot of great one-liners from Arnold that I’ve considered solid classics. It’s smart, fun writing that makes Kaminsky an enjoyable hero while never damaging the dramatic qualities of the film. It’s a nice balance handled by director John Irvin. Without these moments, the film could get a little dry, but we get nice dashes of that charm and wit to liven it up where need be.
Schwarzenegger strikes up some great chemistry with Kathryn Harrold’s classy, yet assertive Monique. What’s nice about this film is that while it does have multiple plot threads and character relationships going on, both friendly and adversarial, it never gets complicated. This is well reflected between these two characters. It has its sweetness as well as its conflicts. They build an enjoyable relationship between affectionate charm and some heated disagreements, but ultimately, it’s a simple romantic storyline that allows Kaminsky to regularly show his humanity and compassion.
There’s also a fine performance by Darren McGavin who mixes the conviction of a man needing justice with that of a heartfelt friend and father. He pops in and out of the film, but his scenes have substance that hold the underlying plot together. Joe Regalbuto creates a nice counterbalance playing up the bureaucratic, slightly snide mentality of Special Prosecutor Baxter, the man who forced Kaminsky out of the FBI. We soon see that he is justifiably despicable, but also, surely lacking in backbone when things got hot.
The supporting cast has plenty of solid talents. Robert Davi is great as the somewhat blunt instrument of an enforcer in Patrovita’s organization. Davi always does top notch work, and he adds a good rough, arrogant quality to Max playing opposite Schwarzenegger’s smoother undercover persona of Joseph Brenner. Everyone from Sam Wanamaker to Steven Hill put in very authentic performances as Chicago mobsters. They have that refined, high class, yet detestably corrupt quality which Chicago residents are all too familiar with. Ed Lauter is damn good as Federal Agent Baker who showcases some wit, charisma, and levity to make him quite engaging and memorable. Overall, Raw Deal doesn’t have a single weak link amongst its highly talented cast.
The score has some nice qualities to it. The action scenes have a strong driving rock sound to them that really kicks some ass, and adds more punch to each sequence. The dramatic scenes are more subtle keeping them generally low key but decently effective. In one instance, where Kaminsky and Monique are indulging in some campaign, we are treated to a nicely elegant saxophone as it becomes a lightly sexy moment with a humorous beat at the end.
I also think Raw Deal is very well shot making fine use of the 2.35:1 aspect ratio. John Irvin and his cinematographer utilize very good camera movement and solid angles and compositions. These are good, intelligent filmmaker who know how to dramatically stage a scene with smart camera work and very good lighting. They show off some fine 1980’s elegant production design, and also give us some punch in a night club scene with vibrant colors. For whatever reason, Chicago in the 1980s and early 90s looks quite different on film than it does today. A good deal has changed since then with more development all over the place, and it’s kind of intriguing to look back on a film like this that shows off some good landmarks of the city. There’s an entire car chase that runs through Navy Pier, which is essentially a big amusement park area with a Ferris wheel, concert venue, attractions, and a movie theatre today. Here, it’s dead empty.
But yes, indeed, this film features some solid action scenes. As I mentioned, Arnold is great getting hands-on in the fight scenes, and that car chase is really damn good with mobsters trading gunfire at high speeds. There’s enough action to satisfy right from the beginning with a mobster raid on a safe house where a witness is executed. I also love Arnold plowing a truck through the front business of Lamansky’s casino. But for me, the absolute BEST action scene comes when Kaminsky assaults the quarry where he provides his own soundtrack by putting a cassette tape of the Rolling Stones’ “Satisfaction” on the convertible car’s stereo and blasting it as he drives around picking off bad guys. There’s just putting a cool song added onto the soundtrack, and then, there’s the character himself providing his own action scene soundtrack. That’s purely priceless and it is one of my favorite moments in a Schwarzenegger film. It’s just awesome! This scene even starts out with the standard “arming up” scene where Kaminsky unfurls his arsenal of high-powered firearms and dons a slick leather jacket.
Following this up is the real big climax where Kaminsky goes for broke and unleashes a barrage of gunfire upon his enemies. There’s a great catalyst to all of this from the undercover operation to pure action revenge onslaught involving Harry. While it essentially negates all the attempted undercover manipulation and deception, it’s ultimately what you are waiting for. This is what makes it a Schwarzenegger action movie. Him spraying automatic gunfire in a stellar action climax that is awesomely shot, edited, and executed. Arnold goes into full bad ass mode taking something like the police station massacre in The Terminator and upping the action hero intensity with motivations of revenge and vindication. And it still has great, clever moments. It’s just an excellent climax to a rather fun film.
I will certainly say that Arnold has many greater movies than Raw Deal, but even then, it’s far from being a bad film. There are solid performances all around with a good, well put together plot that keeps it simple and straight forward while delivering plenty of entertainment value. It surely had enough plot potential to be a bigger, more complex and involved film than it was, but it sort of wisely avoids doing that knowing this is a Schwarzenegger vehicle. It’ll give you a good plot, but it’s going to keep it nicely focused on his character and maintain a good dosage of action. The film did fairly well upon release, but surely has been one of Arnold’s lesser regarded films. I think it’s fun while still providing some good dramatic and romantic qualities. Arnold himself does a fine job where he clearly was having a fun time. Like I said, it’s not entirely typical of his films with it’s more slick, dramatic tone and some sentimental qualities near the end, but it’s an enjoyable 104 minute action flick. It’s got enough entertainment value between everything Schwarzenegger is doing in this role and the solid action sequences delivered by director John Irvin. As something from De Laurentiis Entertainment Group, I think this nicely meets those expectations. I definitely recommend it for a fun time.
I have had a rather unusual view on The Terminator for the longest time. I do consider it James Cameron’s best movie, and the best of this franchise. These are for reasons of pacing and innovative filmmaking. Yet, what I mainly consider this film as is not so much a science fiction movie, but essentially a techno-slasher film. You’ve got a hulking, invincible juggernaut of a killer stalking and hunting down an innocent young woman. That’s a bare bones plot description for both The Terminator and a Friday The 13th sequel. The vibe of the movie is very relentless and evokes a very techno-horror hybrid ideology. Beyond that quirk of perception, I do have many things to praise this film for that I feel James Cameron severely abandoned afterwards.
In the post-apocalyptic future of 2029, SkyNet, a super computer defense system wages a losing war against a human resistance which it is intent on exterminating. In their desperation, the machines send an indestructible cyborg known as The Terminator (Arnold Schwarzenegger) back in time to kill Sarah Connor (Linda Hamilton), the woman whose unborn son will become mankind’s only hope. In hopes of preserving humanity’s future, the human resistance sends soldier Kyle Reese (Michael Biehn) back in time as well to protect Sarah. But does he even stand a chance against the most unstoppable killing machine ever created?
Obviously, The Terminator has been widely praised since its release, and so, there’s not much I have to tell you that hasn’t already been said. Regardless, most of these reviews are about what these films mean to me and the nature of cinema, in general. James Cameron previously worked in the special effects world working on numerous lower budgeted pictures, but after a great deal of hard work and determination he scored his first major directorial job with this film. The budget was tight, but with Arnold Schwarzenegger’s growing star power from the Conan films, there was a lot of credibility and weight put behind this. Still, it wasn’t an easy task getting it made. The restrictions of budget and resources really did work towards the film’s benefit. It forced Cameron to be innovative and a bit of a guerilla filmmaker. It’s a perfect example of better creativity through adversity. As I mentioned in my Aliens review, I think once Cameron got a big budget and a lot of freedom as a filmmaker, he lost that edge and began to indulge in overly long films with far laxer pacing and storytelling techniques. He was still innovative in the technical realm, but not so much in the creative one where tight storytelling was concerned.
What I find to be so intelligent and original with what Cameron did with The Terminator is how he maintained tension and a tight cohesion of the plot. The main exposition in the film is dealt with in the midst of a car chase. The excitement and danger are high, keeping the audience intently invested in every second, and Cameron uses that time for Kyle Reese to impart a great deal of exposition about himself, the T-800, and the future war. In the vast majority of films, the exposition scene is a slow paced, quiet scene that is regularly the most derided scene in the film from the director’s perspective. Cameron changes that all up, and makes it one of the most captivating scenes by melding it with an intense chase sequence. From there, even the slower, character building scenes maintain some degree of urgency or dramatic electricity to never allow the film to lose your interest or attention. If not in the hands of James Cameron’s innovative and visionary filmmaking talent, I could surely see this movie slipping down into a B-grade sci-fi film that you’d see premiere on late night Cinemax. Believe me, those films do exist, and were heavily inspired by this far superior film. Having the right director at the helm can make a severe difference in whether a movie is brilliance or cheap exploitation fare.
This film is expertly shot with strong, sharp focus on every detail and bit of action. The night scenes are definitely gritty creating a dangerous edge and energy that wholly serves the tone and vibe of the picture. It brilliantly reflects the “tech noir” theme of the movie, showing us the dark side of technology. Cameron and his director of photography Adam Greenberg do a marvelous job all around. All of the action is shot with skill, dramatic weight, and great storytelling ability. Just in the way it is shot, The Terminator looks and feels like a 1984 film, and in all the best ways. It might have its rough edges here and there, but they work so excellently towards the energy of the picture. Overall, you can see the great, deliberate insert and close-up shots that establish and enhance the mood and tension of the film. The slow motion sequences are beautifully and masterfully done creating so much tension and dramatic anticipation. The editing of Mark Goldblatt is some of the tightest, most dead-on-the-mark work I’ve ever seen. There’s not an extraneous frame anywhere in the runtime of this movie. Every shot has purpose and cohesion to the kinetic and emotional beats of the story. Action directors of today should go back and watch this movie to see how you competently direct, shoot, and edit an action sequence. The car chases are great, but the entire police station massacre is insanely tense and masterfully shot and edited. It’s a major action set piece of the film, and it could not have been executed any better than it was. Yet, the climax is able to top that with a long series of action sequences from a car chase to the explosions to the final industrial plant confrontations. It continues to hammer home the seemingly indestructible nature of the Terminator as it continues to come back from one fiery explosion after another. It’s a frightening action climax where the monster simply will not die while our heroes continue to suffer more and more injuries hindering their ability to continue running away.
Michael Biehn is absolutely amazing as Kyle Reese. What strikes me first is the weathered, war torn quality of his performance. Reese does seem like a guy who has been through the darkest parts of hell on earth with both the psychological and physical scars to show for it. Biehn also has great physical intensity such as during the initial car chase where Reese is imparting the exposition to Sarah. There’s a depth of urgency, fear, and heart with every word he delivers. It creates someone that’s not just an action centric soldier, but a man with a solid core of humanity. The pain of Kyle Reese is deep seeded, and the trauma and pain that he has endured comes through in the texture of Biehn’s performance. This is a guy who does initially seem like an intimidating threat, almost serial killer like, but that intensity and frayed exterior are molded into a fascinating, sympathetic character that an audience deeply cares for before too long. Biehn’s romantic chemistry with Linda Hamilton is wonderful, and the tenderness that forms between them makes this so much more than just a testosterone fueled action picture. It has a lot of depth that has always been a strength of James Cameron’s films. He always seems to create very dimensional lead characters which enhance the nature of the films they populate. Why Michael Biehn’s acting career didn’t soar to greater heights after this movie is a mystery to me. It certainly did for Hamilton and Schwarzenegger.
It goes without saying that this was one of Arnold’s defining roles. While Conan the Barbarian was a big success, this propelled him into a whole new level of stardom. What he does at The Terminator was instantly iconic with only eighteen lines of dialogue. The deliberate movement and restrained mannerisms he devised for this Terminator create a cold, threatening, dominating screen presence. I have seen other lower grade actors attempt to approximate this sort of robotic performance, but Arnold just had something special. It’s the whole package from his size and build to the choice of punk or leather attire to the calculating way he surveys a scene. You can view a methodical yet relentless intelligence behind everything the Terminator does, and Schwarzenegger just hit it perfectly on the mark. There’s not a moment where you don’t take him as a serious, menacing threat, and after that is all solidly established by him, it carries over seamlessly when the flesh is burnt off and it’s just Stan Winston’s animatronic endoskeleton. While almost everyone seems to love when Arnold does the cheesy action films, I feel his best work is in the more serious roles because it creates a challenge for him. He has to dedicate himself to a far stronger character, and create something that stands out in a dramatic fashion. There are a lot of cheesy action heroes out there, but not many who can pull off the really serious, iconic roles such as Conan, the Terminator, or Dutch in Predator. Arnold can do both equally well, and that’s much of why he’s the action movie legend that he is today.
This film was especially pivotal to Linda Hamilton’s career, and the reasons why are vibrantly evident. While, as Sarah Connor, we see a great deal of panic and fear, it is all mixed in with a genuine sense of humanity. Sarah’s an average woman thrust into an extraordinarily intense and dangerous scenario, but ultimately, we see her inner strength shine through. When you first see her as a lowly waitress, you could never imagine she could come to survive and fight through this frightening, lethal experience with as much resilience as she ultimately displays. Hamilton gives us the full spectrum of emotion in an impressive dimensional performance that also adds in a layer of romanticism. The build up to the love scene between Sarah and Kyle is beautifully touching, and would be able to squeeze tears out of the more emotional audience members. That tenderness and depth of love and passion triggers the greater strength of the film that I mentioned before. It is a love scene that is not there for the sake of skin and titillation, but for the sake of love itself. At the film’s end, you can see the subtle seeds of what we will see Sarah become in Terminator 2: Judgment Day. In this film, Linda Hamilton is absolutely excellent giving us a sympathetic and strong character that stands the test of time.
And I have to mention the excellent performances of Lance Henriksen and the late Paul Winfield. Henriksen has some great humorous dialogue that is just enough off-kilter to be memorable. We’re so used to seeing Henriksen playing rather dark, disturbed characters, and so, it is a wonderful treat seeing him enjoy this upbeat, charismatic character. Winfield was always a stellar, sophisticated acting talent, and while Lieutenant Traxler has his streetwise qualities, he is a compassionate and intelligent commanding officer. He strikes the perfect balance between entertaining, charming character and capable, seasoned cop. Many films like this would paint all the cops as unlikeable fools, somewhat like Dr. Silberman is (appropriately enough), but instead, Cameron maintains his sense of humanity in these characters along with casting superb actors to realistically embody those qualities.
While the animatronics, stop motion, and optical effects work largely appears dated next to today’s sleeker digital effects, especially with the work done in the sequels, I think that gritty, rough edged effects work here benefits the overall style and feel of this movie. The stop motion animation in the climax evokes more of that techno-horror feeling taking the scary skeleton of the haunted house and meshing it with a dark science fiction menace. Stan Winston did an amazing job with all the physical effects further cementing his stature as an effects wizard and master of creature designs. Having clocked in stunning work with the Terminator, Predator, and Alien franchises, his quickly earned legendary status is no surprise. The visual effects were handled by Fantasy II, and for a mid-80s low budget science fiction picture, they did an excellent job. Combined with Cameron’s vibrant vision, they achieved something that really grabbed audiences’ attention at that time, and truly captivated their imagination. The brief future war sequences are stellar. The only thing I ever mark as a negative is the use of rear screen projection, which Cameron would use again in Aliens. It just never looks convincing, especially when compared to good quality blue screen composites. Regardless of that, these were very eye-opening effects in 1984, and they entirely serve the film’s dark, gritty tone.
The synthesizer based score done by Brad Fiedel encapsulates that tense, dark atmosphere of The Terminator. The compositions alone are excellent, and the main theme has become iconic. The use of the metallic percussion reflects the cold, mechanical heart of the Terminator, and gives us a rather chilling, ominous feeling whenever it appears. So many other cues are done with great feel for the intensity of their respective sequences maintaining the weight of the drama and action. Many instances again evoke a high tension horror atmosphere such as whenever the Terminator is seconds away from killing Sarah. The synthesizer sound perfectly fits for a 1984 tech-noir action film as it simply enhances that oppressive technological theme, and is an obvious sign of the times. However, it can get elegant and beautiful during the aforementioned love scene. Fiedel takes that heavy, almost claustrophobic type main theme, and rearranges it into a piano love theme that is sad, touching, and wonderfully gorgeous. While Fiedel would blow it out of the water with his work on Terminator 2: Judgment Day, what he does here is a solid, excellent fit for the kinetic energy and tense danger that is so tightly wrapped in this film while highlighting the depth that the film has to offer.
The Terminator is really amazingly well written. As I said, Cameron is able to raise the concept above the standard action movie fare by injecting dimension and emotional depth into his story and characters. They live and breathe as realistic people that an audience can attach themselves to, and that makes the rather fantastical story gritty, believable, and gripping. The dialogue is honest and real showcasing distinct personalities that leave a lasting impression, and with the stellar casting, it couldn’t be any more pitch perfect. It’s not just those iconic one-liners from Schwarzenegger or Biehn that make it great. It’s every nuanced quality of the characters and depth of the story being told that have made The Terminator a classic. Arnold Schwarzenegger has done movies with far more quotable dialogue, but they do not match the filmmaking quality and intelligence of this one. That is all due to the innovative creativity and artistic talent of James Cameron.
James Cameron had a vibrant vision for this movie, and was intensely driven to realize it on film. While he hasn’t lost vision, I do think he’s lost a number of exciting qualities that made The Terminator so exceptional. He used to be able to tell amazing and captivating stories in innovative and exciting ways. Even if the storytelling rhythm and cohesion became more lax in his subsequent films, we were still treated to things we hadn’t seen before, and were given stories that ignited our imaginations while still touching us deep in our hearts. The Terminator is an excellent example of what made Cameron a fascinating and awesome filmmaker for many years. However, as his budgets got bigger and his ego became overinflated, I just think he stopped caring about the story and characters, and was just more enamored with the evolution of visual effects and filmmaking technology. I would really wonder if someone gave James Cameron a $6.4 million budget today, could he still make a film as well made as this one.
This if my favorite film of the entire Terminator franchise, and I consider it the best film James Cameron has made. This is for the reasons of the tightness of the storytelling where not a scene, moment, or frame is wasted. While even Terminator 2 took the time it needed to tell the story it had to tell, I just love the relentless momentum of this movie. It has its character building scenes wrapped up nicely between and within the action sequences. No part of the film ever drags on. Coupled with all the amazing talents from the actors to the special effects mastery to the cinematography and editing, The Terminator is a lightning strike of stardom and awesomeness. I take nothing away from its 1991 blockbuster sequel, but there is just something so riveting about the lean and smart storytelling in this film that sets it apart for me. It’s that guerilla filmmaker mentality of better creative through adversity and budgetary restraints that sparks my love for The Terminator. Cameron showed the talent he had despite the restrictions of the production, and made a big impact when this hit theatres. Everyone who worked on the film believed strongly in it and Cameron’s ability to make it happen. It’s that ambition and hard working dedication which can set the exceptional filmmakers apart from all the others. This is a film that should be on every action and science fiction film fan’s must-see list. And while it’s not my favorite Schwarzenegger movie, it is one of his best.
It has been not the best summer of movies for me. Aside from two nice surprises, most of what I’ve seen has ranged from average popcorn fare to crap I want to avoid like the plague. So, after the last few films I saw being well within that low end of the spectrum, I am so glad that many of the world’s greatest action heroes have come along to salvage the end of my summer movie season! While The Expendables 2 has some factors that keep it from matching the original, overall this is just a big, fun action flick that is what summer movies are supposed to be about.
After taking a seemingly simple job for Mr. Church (Bruce Willis), the Expendables find their plans going awry after encountering sadistic rival mercenary Jean Vilain (Jean-Claude Van Damme). The Expendables set out – with help from Maggie (Yu Nan) – to seek revenge in hostile territory, where the odds are stacked against them. Hell-bent on payback, the crew cuts a swath of destruction through opposing forces, wreaking havoc in an attempt to shut down an unexpected threat – five tons of weapons-grade plutonium which is more than enough to change the balance of power in the world. However, that’s nothing compared to the justice they intend to serve against the villainous adversary they seek revenge from.
Now, the only thing I felt held this film back was just it’s 102 minute run time. If this had been a solid two hour film, I think it would’ve had the time to beef up a few aspects. Jean-Claude Van Damme makes for one massively awesome villain. He easily and deeply sinks his teeth into the role, and his vicious physicality sells so much of the character’s vile ferocity. Van Damme plays the material with a lot of zeal and charisma. You can clearly see there’s a lot of potential substance to Vilain, but the film doesn’t give the character much screentime or material to develop the richness Van Damme puts into the role. We get just enough to sell his status as a villain, but not enough to really build up his threat level. Partly because of this, the climax seems to come a little too quickly. I had hoped for some more momentum to build up in the film before the full-on firestorm rained down. In the first film, the villains were given ample screentime to develop fully, and they were tied deeper into the plot. Both films have generally the same runtime, but the first film just seemed to make more of the time it had.
On the upswing, the entire cast seems like they were having a wonderful time shooting this movie. Stallone has plenty of great chemistry with everyone, but I think the best material is between him and Statham. Barney Ross and Lee Christmas just feel like such good, long time friends who can constantly take light-hearted jabs at one another, and are totally in sync when it’s time to throw down. It’s a great, inspired pairing that brings so much levity to the film. It really makes it a fun ride. Action-wise, Jason Statham continues to shine with several knife fight scenes which are brilliantly executed and choreographed. Nice touches are maintained with his character as they keep alive the relationship between Lee and Lacy, portrayed by the lively Charisma Carpenter. Unfortunately, Jet Li departs the film after the opening action sequence, but he’s still given his moment to shine. Chuck Norris’ role of Booker is full of fun humor that plays up the exaggerated internet humor of Norris’ superhuman feats. It’s very well done. The only negative mark with Norris is that he only ever fires a gun. There is no martial arts action from his limited appearance in the film. He doesn’t have anything more than an ancillary action role. He shows up in two action sequences, and has a nice departure at the film’s end. Sure, the script didn’t require his character to be there, but he does add to the fun of the movie.
While Stallone stepped down from the director’s seat, he remained as co-screenwriter, and you can still see his talent there. The first film had its fine touches of emotional depth, and we are treated to some of the same here. We get a fine amount of substance from Billy that Liam Hemsworth does a perfect job with, and really makes an impact upon the film. He seemed like a very solid addition to the team, and proves his worth opposite some heavyweight talents here. Barney Ross has more forefront time in this movie as he develops a solid relationship with Yu Nan’s Maggie Chen. He has his soul bearing moments with Maggie that bring a lot of dramatic and emotional strength to this very testosterone pumping movie. Yu Nan does an excellent, charming job showing both a compassionate, insightful side and being a more than capable fighter. She has plenty of physicality to offer in the action sequences beyond just gunplay that is very impressive. I think it was a very excellent idea introducing her character into the mix. Surely, it offers up something a little more for the women in the audience to connect with, but in general, it’s good storytelling and screenwriting. Barney is able to open up about certain things that can only be inquired of by an outsider, a character that is learning more about him along with us. I liked Maggie right from the start. She’s smart, cunning, humorous, and clearly doesn’t shy away from danger. She’s exactly on the same level as the rest of the team, and more than proves her worth to them time and again. I would love seeing more of her in The Expendables 3.
Lundgren, Crews, and Couture continue to be entertaining and ass kicking. Dolph definitely has been given a great, amusing character that everyone plays well off of. Bruce Willis is absolutely great as Mr. Church. He’s another actor who could play one hell of a magnificent villain when given the chance, but he eventually fights side-by-side with the good guys giving him the opportunity for some funny quips. Him and Schwarzenegger exchange their signature catch phrases late in the film, and it’s a total riot hearing them throw each other’s own lines back at one another. Arnold has never had a problem embracing the self-referential humor of his iconic characters, as evident by Last Action Hero. He’s having the time of his life here playing off of Bruce, Sly, and even Dolph. It’s pure fun watching Arnold in this movie. He kicks a lot of major ass, and gives us plenty of that classic charming Arnold humor we’ve all loved for decades now. It really comes down to the fact that these are all guys who love action cinema, and are making these movies as a real, honest love letter to the genre’s fans. The Expendables showed us exactly what we had been missing in the action genre for so long, and this sequel continues on that great, vibrant, explosive trend of entertainment! Everybody gives it their all in these movies!
And OH YEAH! You will get your fill of amazing action here! Director Simon West shows he’s still got the chops he put on display back with Con Air. However, this cranks up the volume and brutality further than he’s ever done before, and you’re damn right there’s blood! This is a hard R rated action movie that doesn’t hold back. Right from the start, we get slam bang, smart, innovative action that delivers on every level. It’s fiery, loud, adrenalin fueled, and just flat out fun! You see these guys at the start charging in to storm of the stronghold, and you know you’re in for a bad ass thrill ride! They pull out the big guns, the large caliber ammunition here all the way through! Stallone, Statham, Li, and Van Damme show off their physical abilities greatly in various action sequences. However, nothing beats out the climax of Stallone and Van Damme throwing down. You’ve got the brute force of Barney Ross combating the vicious martial arts expertise of Vilain, and they are true hardcore heavyweights. Stuff that would take down the average person in an action movie doesn’t even take these guys off their feet. Getting busted up with a chain, hurled across the room into a metal gate, and just plain visceral brutality is something both men are able to take and more. This is one of hell of an awesome climax that is worth the price of admission alone. The build up to it by Van Damme is wicked. He thrives so much in this role in this scene that it punctuates wanting to have seen a lot more of Vilain throughout the movie. Jean-Claude is clearly loving this character so much, and he puts every charismatic ounce of enthusiasm on display. I think it’s a brilliant and amazing villainous performance.
The cinematography of Shelly Johnson is rock solid. He also lensed Captain America: The First Avenger, and shows just as sharp of an eye for action here. Every shot maintains a sense of action geography to know who is doing what, where they’re doing, and who they’re doing it to. It fully puts the fiery, explosive, bloody action on excellent display for an audience to indulge in completely. The editing of Todd E. Miller never embraces rapid fire cutting. He lets the action play out competently and smartly. There’s great action choreography to behold throughout the film, and both Miller and Johnson want you to see all of it. These are some smart and highly capable filmmaking talents here that know the mechanics of a great action film.
The story is your straight forward revenge plot, but it is handled well. Again, it would’ve been nice to have more develop between the heroes and villains. Maybe have Vilain just slip through their fingers at some point, and thus, further fueling their hunger for revenge. They get so close, but he gains the upper hand, almost laughing at them as he escapes. I think something like that could’ve increased the film’s momentum towards the climax. Between the time they first encounter Vilain and corner him at the airport for the film’s climax, they don’t come close to encountering one another, and that’s roughly an hour apart. So, we never really get much of that adversarial conflict boiling up between Barney and Vilain, but Stallone and Van Damme surely hold none of that back when they do finally clash. The film might indulge itself too much with its start studded cast at the expense of a meatier plot, but it never sacrifices entertainment value at any point whatsoever.
Ultimately, what you expect is exactly what you get with The Expendables 2. There is no film this summer that has had action anywhere near as huge as what this film offers. Plain and simple, this is pure bonafide FUN! With a collection of some of the greatest action heroes alive today, you really cannot go wrong here. With the names that are being thrown around for a third film, I’m very intrigued at what more these filmmakers are looking to pull off. A return of Mickey Rourke would be awesome as well. This franchise is all about rekindling the best aspects of the classic big summer action movie, and as long as Stallone is creatively involved I think we’ll continue to get our money’s worth. I don’t think this film lost anything with Simon West in the director’s chair, and I would easily welcome him back if he’s invited. If your summer movie experience has let you down at all, do yourself a real favor, and indulge in the action-packed fun of this movie. While I don’t think it’s quite as good as the first film, it’s exponentially better than the vast majority of action films released today.