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.
Ensemble casts are a sweet pleasure. When you bring a wonderfully talented group of actors together that spark a unique chemistry, you’ve got cinematic gold piled to the ceiling. Sneakers is one of those great films that blends and balances comedy, drama, and action successfully. Robert Redford, Dan Aykroyd, Ben Kingsley, Mary McDonnell, River Phoenix, Sidney Poitier, and David Strathairn populate this highly entertaining film that is truly charming.
Computer expert Martin Bishop (Redford) heads a team of renegade hackers – including a former CIA employee (Sidney Poitier), a gadgets wizard (Dan Aykroyd), a young genius (River Phoenix) and a blind soundman (David Strathairn) – who are routinely hired to test security systems. But Bishop’s past comes back to haunt him when government agents blackmail the “sneakers” into carrying out a covert operation: tracking down an elusive black box. Along with his former girlfriend (Mary McDonnell), Bishop’s team retrieves the box and makes a stunning discovery – the device can break into any computer system in the world. With factions from all sides willing to kill for the powerful box, Bishop and his team embark on their most dangerous assignment ever which will lead him to confronting a contentious specter from his past.
Sneakers truly is rich with talent, and is a hell of a lot of fun! The comedy is handled with such sharp wit and smart savvy. There’s a lot of charm and heart put into this film that maintains a nice light chemistry and upbeat pace. Everyone surely seems like they had a fantastically enjoyable time making this movie. Our heroes are like boys in a clubhouse. They are a playful and slightly immature bunch with their childish disagreements, especially between Aykroyd’s conspiracy theorist character and Poitier’s ex-CIA Agent Crease. Martin holds them together with his smart, level head, but it’s fun seeing them kind of stumble here and there through unexpected situations. They have to think on their feet, and the results are usually hilarious. These guys are clever and quick witted enough to slip on through some tight scenarios. They’re not some Mission: Impossible style crack team, but they have the mismatched skills to really pull off some impressive, unorthodox feats.
No one amongst the cast embodies the delicate balance of light-hearted wit and solid drama better than Robert Redford, and that should come as no surprise. It really all comes down to the natural heart and grounded sensibility he brings to a role. It’s great seeing that he might be a man in his fifties here, but he’s able to bring that youthful, teenage energy at the right times. This can be seen greatly between him and Mary McDonnell early on, who are beautifully sweet and genuine together. Redford makes Martin a very endearing person with a touching depth. There are a lot of subtle qualities he adds in that allow for the humor and drama to mesh seamlessly. It’s surely not an easy thing to pull off, but he makes it appear effortless, which is a testament to his natural charisma and talent.
And Mary McDonnell really demonstrates confidence, grace, and smarts as Liz. She’s really a vibrant, mature cog in this rather playful ensemble. It’s nice to see that dynamic, which does rub off in places. There is a real, genuine spark between her and Redford that builds as the film goes on, but never overtakes the tone or focus of the film. Yet, she gets to partake in some of the fun, too, and it’s really enjoyable. The best thing to see in an ensemble cast is when no one gets short changed. In this film, everyone gets their fair share of screentime to shine brilliantly, and Mary McDonnell is only one of many getting that chance here.
The rock solid core of the group is indeed Sidney Poitier’s Donald Crease. The moment he knows they’re all in danger, Crease exercises his CIA instincts, and shows he’s a tactically sound professional. Poitier definitely shows he can be a solid bad ass in this role, but still delivers on the fun and humor. Of course, for the role of Mother, there was no more perfect choice than Dan Aykroyd. The rapid fire conspiracy theory dialogue, and the sharp wit completely fit his talent. David Strathairn is wonderfully exuberant really doing a remarkably fun job as Whistler. Watching this blind sound expert be the wheelman for their escape in the climax, driving the team’s van full speed through a parking lot, is just a brilliant, joyful moment. And the late River Phoenix shows the charming innocence of Carl adding the authentic youthful naivety to this team.
Cosmo is really smartly handled by Ben Kingsley. It’s an especially great idea having the film’s antagonist being an old friend of Martin’s, and to see how these two have diverged down different paths. Cosmo became swallowed up by the criminal underworld, and held onto his youthful beliefs of radically altering the world through crooked computer activities. Wiping out world economies and collapsing the system started out as youthful idealism, and grew into a rather disillusioned ruthless criminal. However, Kingsley so wisely plays things down and subtly serious. He has a lot of the same wide eyed wonder as the rest of the cast, but it’s tempered by this man who has felt abandoned and betrayed by his best friend. By the end, there’s something sad about this character as Martin pretty much pities him. Ultimately, the film is about Martin and Cosmo resolving their pasts, but it’s Martin who has been able to move beyond it into a brighter future.
The score by James Horner is really delightful. The light melodies he sprinkles into the film to maintain the sense of fun and adventure are the true highlight. However, the more dramatic scenes, especially when the film gets perilous or tightly suspenseful, are intensely excellent. Horner’s execution of the score is directly in line with Phil Alden Robinson’s superb and intelligent direction. He enhances what Robinson does on screen with great inspiration in all musical aspects of his work.
Beyond anything else, Sneakers is especially clever. The sequence where the guys discover what the black box is, and Martin decodes “Setec Astronomy” with the help of a Scrabble board game is just so smart and a little whimsical. And when Martin goes to the Russian delegate for answers, there’s a brilliant moment where he steps out of the light and into the shadows to say, “Trust me.” It’s artistic flourishes like that which show Robinson just knew how to weave the dramatic weight of an espionage thriller into this light-hearted adventure. This really is some of the smartest direction I have seen because both the lighter and heavier aspects of the film are executed with equally brilliant skill.
It’s quite striking that the ideas of the world being controlled by information presented here are even more relevant now than they were twenty years ago. It’s surprising how much of what’s discussed and brought up in Sneakers rings true to what we hear in the news every day. Now, more than ever, does information and knowledge equal power, and people wield information like a sword. Cosmo believes in that with absolute certainty, and wants to be the one who can shut it all down with a keystroke. Yet, you will absolutely walk away from Sneakers with a plentiful feeling of enjoyment because it is such a charming experience.
Still, I find it so difficult to accurately categorize this film in a predominant genre because all of the humor is wonderfully delightful, the drama is perfectly nailed, and the action is purely thrilling. Most importantly, Sneakers just has a lot of heart in it through and through. There’s plenty of fun to be had with it while still getting a substantive story, a touch of heartfelt emotion, and a set of great performances out of it. The cast is a joyful delight with chemistry and charisma to spare. There’s really so much to love and adore about this film. If you enjoy Steven Soderbergh’s Ocean’s Eleven or even this year’s Now You See Me, I think you will fall totally in love with Sneakers. It is so amazingly well executed that I wish Phil Alden Robinson, the director also behind Field of Dreams, would direct even more films of this superb quality. There will always be a place in cinema for something that can deliver on the dramatic excellence while providing us a great breadth of clever humor. If any one word does sum up Sneakers for me, it is “delightful.”
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.
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.
I have never been so bored out of my skull in a theatre as I was watching this movie. I’ve never walked out on a theatrical screening, but this tempted me to. Not because it’s some atrocious motion picture, but just by how boring it is. If I was watching this anywhere other than in a theatre, I would’ve stopped watching within the first half hour. I have thoroughly enjoyed all three previous entries in the Jason Bourne franchise, and while on paper this might seem to have a lot of potential to be a decent Bourne-less sequel, it entirely fails. There are so many factors that feed into the dull, lifeless quality of this film. Not the least of which are a flatly conceived new lead character and a mess of exposition trying to impart three movies of back story which ultimately have no consequence on this story. There is nothing exceptional or engaging in the least about The Bourne Legacy. Why must my summer movie experience be filled with so much disappointment? Oh well, here we go, again.
In the wake of Jason Bourne’s dismemberment of Operation Blackbriar, the CIA discretely enlists the expertise of retired USAF Colonel Eric Byer (Edward Norton) to investigate and purge all incriminating evidence between the agency and Blackbriar. The CIA then decides to dispose of their other black ops programs, which includes the termination of their field agents. However, Aaron Cross (Jeremy Renner), an agent from Operation Outcome, escapes from being executed in the Alaskan wilderness and, with the help of Outcome scientist Dr. Marta Shearing (Rachel Weisz), sets out to find a permanent solution to the Outcome physiological enhancement medication he has become dependent upon while fighting to survive those who would try to terminate him.
This is a very peculiar film. One would think that this would be a sort of fresh new beginning for the franchise without the Bourne character, but it’s weighed down to suffocating depths with back story which could easily have been excised for a far leaner and more streamlined story. If you haven’t seen the previous three films, you’re going to be so lost and clueless about what’s going on as characters bombard the audience with events that overlap with and fallout from The Bourne Ultimatum. However, after a while, the film ultimately has nothing to do with anything that happened in the previous three movies. Having seen The Bourne Identity, Supremacy, & Ultimatum multiple times, I was still lost within this maze of excessive and pointless exposition. There is such a massive volume of explanations of things that just don’t amount to anything. It’s not confusing, per se, but the prolonged complex dialogue scenes eventually blur into mind numbing ramblings very quickly. For example, Edward Norton’s character is meeting with so many people early on giving them a breakdown of what the ramifications are of everything that’s happening, but it’s so painfully convoluted and overbloated that the point of it all gets lost in the mix. I’m sure a far more focused and sharp screenwriter could’ve condensed fifteen minutes of exposition amongst numerous one-off characters into a straight-to-the-point two minute conversation. The film also gets so wrapped up in its own severe grounded realism that it forgets to clearly or efficiently relate information to an audience. Nothing is explained in laymen’s terms. Dr. Shearing fully explains what these chemicals do to Aaron’s physiology, but it’s explained in such pure clinical science terms that I would doubt that Cross himself would understand much of what she’s saying, let alone a general audience.
Some scenes are so drawn out to the point where they are counteractive to their own point. For a spoiler example, a team of undercover operatives try to off Marta by staging her suicide. They go under the guise of investigators or psychiatric counselors, and that psychiatric conversation is dragged on and on for several long, pointless minutes before they actually get around to attempting to stage the suicide. The act is only broken up when Aaron Cross shows up out of nowhere at her home, to which it’s never explained how he knows where she lives. It’s a terrible plot contrivance and a hole in logic that the filmmakers just expect us to not question. For all the mind numbing time they spend explaining everything else in this film, you’d think they could take half a minute to explain that.
This film has several great and highly capable acting talents in Jeremy Renner, Edward Norton, Rachel Weisz, and Stacy Keach, but there is just nothing here for any of them to work with. There are barely any proper introductions for any of these characters for an audience to even learn many of their names. If the film can’t clearly convey that simple aspect of the characters, it’s no surprise that the film never develops any substance into these characters. I barely knew anything more about these people at the end of the film than I did at the start. There is no depth and barely any diversity of emotion shown to build up an empathy with anyone. Every actor does as good of a job as they could do with what they were given, but this is such a lifeless, soulless movie with purely one dimensional characters. I was indifferent towards every single character, and that partially contributes to a lack of tension or suspense in the film. What also adds to that is the fact that Aaron Cross never sustains so much as a scratch jumping off cliffs and rooftops, fighting wolves with his bare hands, dodging gunfire, beating people up, and running for his life. Every adversary seems all too easy for him to take down, and thus, there’s no one that poses a real threat to him in any of the extremely few action scenes this film has.
The action sequences are very few and very far between. Where my review of the Total Recall remake suggested there was probably too much action and not enough character development in that film, The Bourne Legacy has an extreme lack of action in addition to an extreme lack of character development. The action sequences probably add up to ten, maybe fifteen minutes of the more than two hour long runtime. Ultimately, these are all terribly forgettable and tired action sequences. There’s nothing fresh or particularly exciting about them. Director Tony Gilroy had said that the film would not employ the use of Paul Greengrass’ notorious shaky-cam, quick cut action style. Well, he lied. While it’s not consistently as bad as what Greengrass does, it does eventually get to being that bad in the lackluster climax of the movie. As with the previous three movies, Legacy gives us another motor vehicle chase sequence. This time, it’s mostly on motorbikes, but like how some dialogue scenes drag on and on without a point, so does this climax. It seriously goes on for the better part of ten minutes where there’s barely anything at stake in it. The villain that’s chasing them is just some random hired gun who has no investment in the plot. The exposition about who he was got so jumbled up in all the other procedural dialogue that I never understood exactly who he was. I just kept waiting for this chase sequence to finally end, but it just kept picking itself back up off the pavement for more. And this ending has no pay-off. With no emotional depth to the story, there’s ultimately nothing anyone is actually fighting for, and thus, nothing to triumph over. There are no passionate principles or struggle for a new self-identity for Aaron Cross to dedicate himself to. There is no change to who he is at any point during the movie, and we barely know anything about him.
There is some back story given about Aaron Cross, but none of it mattered to me. His story isn’t tragic, it’s not conflicted, and it certainly has nothing sympathetic about it. The film takes well over an hour to actually tell us why he keeps jonesing for these meds, the same amount of time it takes for an actual semblance of a plot to develop, and the reason isn’t convincing. One of the pills he takes enhances intelligence and brain function, and his recruitment officer had to falsify his IQ by 12 points so he could qualify for service. He goes off the meds, he becomes dumb, again. So, his whole motivation in the film is to obtain more medication so he doesn’t lose his fabricated intelligence. That just doesn’t sell as a credible, relatable motivation. It lacks any self-less quality or humanity for an audience to connect with. I also find it peculiar that he has been physically enhanced to be stronger, faster, and more resistant to pain. However, Jason Bourne had none of those drug induced enhancements, and was still able to do every impressive physical feat that Aaron Cross could do in this movie and more. Not to mention, he could still do many of them while injured and beaten up.
As Jeremy Renner has demonstrated with both Mission: Impossible – Ghost Protocol and The Avengers, he can capably handle a role of this nature. He can give us a strong action oriented performance fueled by a relatable and charismatic character. However, that character is not Aaron Cross. He’s a guy fighting only for himself, and is only aided by Marta because she’s being hunted by these same people. After he initially saves her, he doesn’t start inquiring about her well being after nearly being killed. He straight up, aggressively asks if she has any of the medication on hand so he can get his fix. Cross has no charm, no heart, no depth. I don’t know if there was an intention to spark a romantic connection between Aaron and Marta, but Renner and Weisz certainly have no spark. I surely wouldn’t want Aaron Cross to be a carbon copy of Jason Bourne, but it’s hard to replace such a powerfully dimensional character in Bourne. Jeremy Renner handles all the physical demands of the role very convincingly, but the character just has nothing interesting to offer. It’s certainly not Renner’s fault that the script was so overbloated and shallow. The dialogue and story give him no room to breathe life into the role, to give it charisma, levy, or emotional depth.
The one word I keep going back to in my mind to describe this movie is “pointless.” The story it tells has no point, the characters have nothing purposeful to say, and the action serves little purpose to exist. This is a film that doesn’t showcase any potential at all to be good. It’s not a steaming pile of garbage, but it just lacks passion and motivation. The script seems like something that should’ve gone through a few more drafts to chop out all that tiresome, go-nowhere dialogue, and build some strong characters and a thrilling story. Doug Limon directed The Bourne Identity, and had a great sense of gritty, coherent action and a vibrant, character driven story. Despite the cinematography drawbacks of Paul Greengrass’ style, he is an amazing director who can craft a powerful, deeply emotional story with some hard hitting drama and action. Tony Gilroy falters greatly with The Bourne Legacy. He can write and direct some great stuff. Michael Clayton was an excellent dramatic film that he wrote and directed amazingly well, and has been a co-writer on every film in this franchise. So, I don’t know what happened here. Beyond just how he made such a terribly boring, lifeless, hollow movie, I don’t know how Universal Pictures backed this script. Usually franchise cash grabs are train wrecks or just reek of second rate indulgence. This is just not trying at all, and that just hurts. I wish there was more to analyze about this movie to deconstruct it further, but there really isn’t. It has no substance or ambition to be anything worthwhile. I found nothing interesting, exciting, or redeeming in the fabric of this film. Again, it’s not a horrendous film that will make you curse its existence, but it simply had no reason to exist. I do not recommend seeing The Bourne Legacy. I found it to be a waste of time. You’ll be far more pleased re-watching The Bourne Identity, The Bourne Supremacy, or The Bourne Ultimatum instead.
This is me writing this straight after getting home from the theatre. I saw this a few weeks after release just because of not getting my time in order. Regardless, what I have to say about Safe House is that it is amazing on many different levels. There are some cinematography shortcomings, but where it counts, this is a movie that delivers on more than just action. Safe House is one of the best thrillers I have seen in many, many long years, and this is a genre I am very passionate about.
Matt Weston (Ryan Reynolds) is a low level CIA agent who has been stuck as a “housekeeper” for their safe house in Capetown, South Africa for the past twelve months. Believing he has the potential to become a full fledged case officer, Weston becomes frustrated by the complacency of his career. Meanwhile, Tobin Frost (Denzel Washington), an ex-CIA agent turned international criminal, obtains a digital file from an MI6 contact which contains incriminating evidence of several worldwide intelligence agencies. However, he is targeted by a team of mercenaries, and the MI6 agent is killed in the process. Seeing no alternative, Frost evades them by walking into an American consulate and turns himself over to the authorities. This lands Frost in Matt Weston’s safe house where a harsh interrogation by a special ops team begins, but is cut short when the mercenaries attack the safe house. Weston is forced to escape, taking Frost captive to keep him safe until brought back into CIA hands. However, Tobin Frost is a master manipulator, and he begins to get into the head of the young operative who finds his morality tested and idealism shaken. Circumstances soon push Matt Weston into going against orders and to figure out who he can trust before he and the world’s most skillful assassin are both eliminated.
Simply said, this is a very powerful, effective film fronted by two incredible actors. This film entirely backs up my statements from my Green Lantern review of the wide range and quality of Ryan Reynolds’ acting ability. Playing opposite Denzel Washington inevitably requires an actor who can carry a lot of weight, and in my mind, Reynolds never slacks off. Matt Weston starts off the film as a very frustrated, yet untested agent. He has the ambition to move up in the ranks, but hasn’t the experience to temper his confidence. The film forces him into a dangerous journey that forges him into a sharp minded, confident, and capable man. All the while, Reynolds holds up his end of the film with amazing talent. This is him upping his game and allowing himself to shine through next to Denzel. That is not an easy feat to accomplish, and the screenplay throws a lot at the character to make it an achievement to be hard earned. Reynolds’ performance crafts a great and compelling arc for Matt to work through. The character has many highly relatable aspects, and is a very human character. He has a loving girlfriend named Ana, portrayed by Nora Arnezeder, who he wants to devote so much of himself to, but he cannot due to the secretive necessity of his job. And being stuck on this assignment will soon force him to be parted from her as she takes a job opportunity in Paris. All of these lies and frustrations ultimately create a conflict for Matt as the story forces him into a more perilous position, but never does he let go of his emotional core.
Now, Washington and Reynolds work off each other fantastically creating an evolving character dynamic which is constantly compelling and intriguing. Throughout the film, Frost is imparting his experience and cunning skill set upon Matt, and this is the basis for their relationship. At times, it’s survival based, but ultimately, it’s about trust. As if it needed to be said, Denzel is stunning as Tobin Frost. He is one of the finest, most talented actors around. While Denzel usually has roles that allow his natural charm and charisma to work to his advantage, here, he curtails it entirely. Frost is a far more psychologically driven character who is dark, dangerous, and ruthless. Morality doesn’t factor into anything, it’s about strategy and survival. However, he connects with Weston because Frost sees what he once was and wants to help this young man not become the same thing he became. He’s never straight forward in saying that. Instead, he works as an observer of Weston’s life, and bestows his experiences upon him. This ultimately affects Matt’s decisions and actions. Again, it tempers him, and allows him to survive to make better choices than Frost made. Denzel is also quite unsettling in how he inhabits the merciless nature of Frost’s violence. He doesn’t need to shoot a prone man five times, but he does out of cold rage or a vindictive point. He shows his enemies how more deliberately violent he is by doing such things. For him, it is only shoot to kill. Denzel conjures up a brilliant performance of an intelligent, analytical character who brings immense gravitas to the story. The emotion he shows is subtle and veiled in Frost’s inquisitive and foreboding nature.
The strength of the film is maintained by a solid and impressive supporting cast. Everyone nails the dramatic weight and tone of the film, and their characters feel fleshed out and realistic. Brendan Gleeson is the most prominent as Weston’s direct superior, David Barlow. He plays the subtle turns of the character very nice, and holds an audience’s attention quite well. The film plays some misdirection here and there, but these moments only continue to fuel Weston’s growing weariness. Sam Shepard also appears as CIA Director Harland Whitford creating an all around interesting performance that motivates many of the thematic elements through to the end. An appearance by the always solid and enjoyable Ruben Blades as a document forger adds an extra dimension to Frost. Even if he happens to be a criminal, it shows that Tobin does have people he trusts and can call a “friend.”
What few scenes we do get of Nora Arnezeder as Ana Moreau are great. From tender and affectionate to quietly concerned to distraught and upset, she inhabits all emotional aspects of Matt’s beloved superbly. While she is never in peril or is a direct motivation for Matt to do what he does, she is always in the back of his mind. He has something worthwhile in his life that he does not want to lose, but there are bigger ramifications at hand which he cannot turn a blind eye to. If for nothing else, he wants her kept safe, and makes some difficult choices because of that desire.
This truly is a thriller on the level of Michael Mann. Even a few moments in the musical score felt evocative of Collateral here for me. Composer Ramin Djawadi has done some work I am familiar with including Iron Man, the Hugh Jackman-Ewan McGregor thriller Deception and the current CBS crime thriller series Person of Interest – and so, I can truly see why he has tapped for this film. The score is entirely awesome bringing out some stellar emotional resonance in key moments, and serving the intense action sequences excellently. This is another powerhouse element that raises the film up to another level.
Now, I have good and bad things to say about the cinematography. First off, STOP IT!!! Stop with the blasted shaky cam! Break out a tripod, a steadicam, or dolly track for one scene! Safe House was shot by Oliver Wood, who also photographed the first three Jason Bourne films. Now, while Paul Greengrass has nothing to do with this movie, you would think otherwise in how it was shot. Still, it is a little better than Greengrass’ Bourne films as the framing can be wider at times, and the lighting is far superior. You can actually maintain a sense of geography in most action sequences, especially the car chases because the action is given a wider composition. Still, this trend has worn on me so much over the years, I can only plead filmmakers to stop at this point. There is one scene between Matt and Ana where it’s supposed to be a quiet emotional scene, but the camera just keeps wobbling all over the place. From experience, shooting a simple dialogue scene with a handheld camera usually only results in a subtle instability, but here, it is so deliberately shaky like the camera operator was about to stagger and fall over. The good half of the cinematography is that it does add a necessary gritty, hardened reality to the film. There is nothing glossy about it, and that’s how it should be. The lighting reflects this with perfect execution using many color schemes to breathe some vibrancy into select scenes. There is moodiness and atmosphere, but that gritty texture is always present to maintain a consistent visual style.
And despite the shaky cam crap, the action sequences are massively effective. This truly has some hardcore action going for it by never pulling any punches. It’s full-on, straight ahead realism maintaining intense momentum and adrenalin. The hand-to-hand combat scenes are definitely impressive showing Denzel and Ryan handle themselves like dead-on professionals. They both deliver hard edged physicality which further drove my respect for both actors, especially Reynolds. It really is a pleasure seeing him in a role that showcases his wide range of abilities, and seeing him handle the physical demands of this film pleases me a great deal. I also enjoy that the action sequences aren’t there for self-indulgence, they push the plot and character arcs forward. Seeing Weston beat down on one of the gunman, interrogating him while Frost looks on from afar was an impactful scene. It starts to beg the question of just what path is Matt Weston starting down.
The screenplay by David Guggenheim is a masterful piece of work. Every character is written with such strength and depth that they must have jumped right off the page. The story itself is wonderfully crafted establishing Tobin Frost quickly as a dangerous and cunning man through not just actions but words. The tone of the scenes are built into how they are written through character interactions and situations. While everyone else is panicking in the safe house when it is hit, Frost sits there, handcuffed and calm as can be. He talks Matt through the situation, and tries to keep him calm and focused. This is a man in control, a man who can see the next step forward. He always sets up the situation where he has the leverage, where he dictates how it goes down. This is established right from the beginning of the film, and continues on throughout. The psychological aspects of the story are brilliant. Whether or not Matt Weston trusts what Tobin Frost says, he cannot ignore his words when circumstances turnaround on him. He becomes more and more aware of the truth closing in around him, and Matt must act in his own best interests as a direct result of what he learns from Frost. The screenplay continually weaves a finely textured fabric of truth and deception around Weston with only Frost as the key to unravel it all.
This is all amazingly executed by director Daniel Espinosa. You can be certain that his name is one I will take notice of from here on out. Again, me comparing this to the best of Michael Mann’s work is a huge piece of praise as Mann is my favorite filmmaker (excluding Miami Vice & Public Enemies). This truly has all the hallmarks of the finest this genre has to offer. Every emotion, every conflict, every action sequence, and every character is handled with immense care, detail, and weight. Nothing is cheated or unearned. Great respect is given to all aspects of this story to craft it into a deeply satisfying and rich film. I honestly can’t recall seeing another film as dramatically impactful an visceral as this one, theatrically, in a terribly long time.
For me, 2011 was not a great year at the theatre for me. There were some enjoyable flicks, but nothing remotely as riveting as Safe House came into my view. Whatever the rest of 2012 holds for me, I always enjoy starting out a new year of cinema with a strong film, and this is one of the most rock solid films around. With an incredible cast of talent in front of the camera coupled with an intelligently written screenplay populated by powerful characters, Safe House was an absolute pleasure for me to experience. I am glad I made the time to give it my attention. I highly and deeply recommend this film for anyone who is excited by a psychologically rich dramatic thriller with visceral action sequences.
The Bourne Supremacy is one of the hardest hitting action films I have ever witnessed, and it has far more to offer than just action set pieces. There is no fat here like most action films have. All of its lean meat and muscle is reserved for its visceral action and dramatic emotional story. Supremacy was loosely based on the novel by Robert Ludlum, and whenever you’re basing a motion picture off of an international best-selling novel, chances are, you’re gonna have the potential for a very meaty story. This is definitely the truth here. This movie is very tight, very taut, deeply dramatic, and firmly rooted in reality. It takes everything that was built in The Bourne Identity and capitalizes on it.
It’s two years after the events of The Bourne Identity, and ex-CIA assassin Jason Bourne (Matt Damon) is still suffering from a broken mind. His memories are fractured, and is awakened in the middle of the night more frequently than not. Jason & Marie (Franka Potente) are now living in Goa, India, but meanwhile, Jason Bourne is about to be framed for two murders in Berlin, Germany. A CIA team, headed by Pamela Landy (Joan Allen), is attempting to purchase classified Russian documents, but a Russian assassin named Kirill (Karl Urban) killed both men and stole the documents. A planted fingerprint implicates Jason Bourne for all this. Then, Kirill shows up in Goa, India to kill Bourne himself in order to erase any evidence to the contrary in framing Bourne. Kirill believes he has completed his mission, but unknowingly, Bourne still lives. However, Bourne believes that it is the CIA who sent a man to kill him, and this sends Jason on a dead set mission to find and take out those who he told to leave him alone. The trail of planted evidence leads Pamela Landy to Operation: Treadstone, the elite team of assassins lead by the late Alex Conklin (Chris Cooper) of which Jason Bourne was the top operative. Landy brings Ward Abbott (Brian Cox), Conklin’s boss, into the mix as she attempts to unravel the mystery of Jason Bourne, and why he has come out of hiding. Now, Jason Bourne is coming down hard and fast on the CIA while the Agency is attempting to hunt down Bourne.
To their dismay, Bourne has been trained too damn good, and when Landy and the CIA believe they are completely on top of the situation, Bourne shows them that they are MILES behind him. Bourne is like a mechanism – once you set it into motion, it cannot be stopped. He lives up to his threat from the first film that there would be no measure to just how hard and how fast he would come down on these people if he even felt someone coming down on him. Everything builds to explosive, intense levels to where the wrong move could get anybody killed.
All the action sequences top any of those in the first film. Although, I have to say that director Paul Greengrass has far too much favoritism towards the notorious “shaky-cam” style of shooting. I’ve never seen any of Greengrass’ previous work, and so, I can’t make any comparisons in that vein. I don’t believe any blame is to be set on director of photography Oliver Wood as he handled the cinematography on The Bourne Identity in a very different fashion. I’ve also seen numerous films he has shot including Die Hard 2, The Adventures of Ford Fairlane, Bill & Ted’s Bogus Journey, Face/Off, and TV’s Miami Vice. So, I have to say that it was mainly Greengrass’ creative direction to use so much of this style of shooting and editing. In some action sequences, between the shaky-cam photography and the fast-paced editing, it can become very difficult to discern what is happening. You can literally get confused what is happening to whom. You don’t know if that was Jason Bourne who’s getting smashed into walls or the other ex-Treadstone assassin. Bad lighting is also to blame as some sequence take place in backlit locales making the actors bleed together. This is my only gripe with the film, and despite its abundance, this film is just too intense and powerful to knock it down because of that.
This film’s car chase sequence is, at least, twice the sequence of the first film’s. Mainly because it is the climactic action sequence of the film as Jason Bourne & Kirill turn the streets of Moscow into a demolition derby the likes of which you have never seen! The car crashes are violent and visceral, and anyone who has ever been in a car crash – like myself – will be able to seriously feel it. This car chase is beyond any I have ever seen put to film. What makes the action in the Bourne films so impactful is just how grounded in gritty reality they are unlike how extravagant and fantastical the James Bond franchise had once become. These films are very adult in manner and context.
Jason Bourne still struggles with the remnants of his past life, and must deal with who he once was. He must come to terms with the pain and death he has inflicted upon others in order to move on with his new life, and to absolve those he has pained of the lies that have damaged their lives. It is powerful and dramatic. It’s the bigger, needed step towards the further evolution of the character of Jason Bourne. He can never live in peace with himself until he is able to come to terms with the blood he has shed. There’s just so much to say about this film that it’s difficult to find the right words to do so. When you see it and are able to absorb it all, you will surely understand. It’s a dramatic and painful journey of discovery for Jason Bourne. Whether redemption will ever come is unknown, but I believe Bourne certainly takes the hardest first step towards that end by the film’s conclusion. However, the film ends on a sly, upbeat note, and that is a sign of very fine and consistent storytelling. I also like the consistency and continuity here from the first film with the reuse of the same passports and identification photos of Jason Bourne to the reuse of Moby’s very catchy tune “Extreme Ways” for the end credits.
John Powell delivers another fantastic score here that tops everything he did in The Bourne Identity. That’s just about the decree with everything here (except for the aforementioned shaky-cam / editing gripes). Matt Damon really delivers like you’ve never seen. Until you see Damon in the role of Jason Bourne, you might have grossly underestimated his worth, ability, and quality as an actor. Until this point, I had only seen Damon in mostly comedic roles in films like Ocean’s Eleven and Dogma before watching The Bourne Identity shortly before the release of this sequel. In this film, however, Damon demonstrates just how powerful of a dramatic actor he can be. You can see emotion in his face, in his eyes, and in his body language. Simply put, his performance is deeply human, and will hit you deep within. As Bourne’s true nemesis, Karl Urban was very impressive. After seeing him in the latter two Lord of the Rings films and The Chronicles of Riddick, it was refreshing to see him in a more gritty, grounded film instead of a setting of fantasy. The character of Kirill does not have much dialogue, but Urban has a strong, intense presence that just leaves you hungering for more. The native New Zealander does nearly all of his dialogue in Russian, and even through a foreign language and subtitles, you still get a grim tone from him that is very potent. Both Bourne & Kirill are like ciphers when they’re in their element, but when the action gets intense, Bourne becomes more focused while Kirill becomes even more enraged. Regardless, they are both determined to burn the other into the ground.
I also have to say that I cannot get enough of Brian Cox. I have loved his wide range of roles in Manhunter, The Ring, Super Troopers, X-Men 2, The Bourne Identity, and now, The Bourne Supremacy. He’s a great actor with an abundance of natural charisma and always, at least, a hint of humor. Words just cannot explain how enthralled I am with him. He is tough to keep up with, and if you’re going to be sharing a scene with him, you’d best be on the very top of your game. Considering how great and engaging of an actor he is, I find it surprising that he’s said to not view any of his own work. Whatever the case, Brian Cox is absolute pure gold in my honest opinion.
Playing opposite Cox is Joan Allen, and she is strong and stern here. As Pamela Landy, she doesn’t allow Abbott (Brian Cox) to shovel any bull her way. She cuts through all the crap, and gets to the truth and the core of the matter. She takes firm control of this entire situation and handles it with confidence. Where others in her situation have faltered and fell, she holds strong. Even when things start to go awry, she still holds onto a degree of solidarity. You can write a character that way, but it takes a strong female talent to bring that sort of role up to its utmost potential. Joan Allen is that talent. Everyone else, up and down the line, puts in everything they’ve got here, and I could not find even one moment of weak acting. A very admirable job to everyone including those involved with the casting of the film.
The only dent in the chiseled armor of this film is the shaky-cam, fast editing style. I believe the same level of kinetic energy could have been sustained in these action sequences using more stable photography. If that’s how it had been shot, then I would have no problems with the editing, but when you can’t discern what’s happening in these shots, cutting quickly from one to another does not help you to comprehend the visual storytelling any better. Of course, with just how slam-bang amazing this movie is, I just can’t allow that to be much of a hindrance to my critique of it. Dramatically, on levels of storytelling and acting, I don’t see how anything can be topped here, but I highly encourage future filmmakers of the franchise to give it every effort.
If you loved or even just liked The Bourne Identity, I believe The Bourne Supremacy will easily exceed all of your expectations. In the context of the currently existing three films – Identity, Supremacy, & Ultimatum – this entry is the best! It entirely launches itself far above the potential of Doug Limon’s first film, which was an excellent film in its own right. While The Bourne Ultimatum was not a real down slope, Supremacy was such a massive step forward that the third film couldn’t achieve the same. Plus, Supremacy seemed more dogged and relentless in all its aspects to create a far more hard hitting film that never let up. Also, the ending of The Bourne Supremacy with Bourne and Landy had a lot of its meaning and character building strength diluted when it was revisited in The Bourne Ultimatum. To say it simply, this is one of the best action thrillers of the last decade, and it helped launch the genre into a grittier direction that was timely and very welcome.
Jean-Claude Van Damme and Dennis Rodman. Far too strange of a pairing to ignore. You throw Mickey Rourke into the mix as the villain, and how can you really say no? Okay, so this wasn’t a blockbuster, and even plans for a sequel never materialized. I was not allowed to see the film in theatres at the time, punishment for getting poor progress reports in high school that week. So, I discovered it on VHS, and now, re-discovered it on a decent widescreen DVD. I can understand why this got negative reviews, but the fact is, Double Team wasn’t trying to be anything more than what it was – a fun, exciting, and highly entertaining action film.
Van Damme portrays CIA counter-terrorist operative Jack Quinn who runs one final mission before retirement to start a family with his lovely wife Kathryn. Years later, with his pregnant wife in the South of France, Quinn is paid a visit by an old colleague to rope him back into action to help bring down his old nemesis Stavros (Mickey Rourke). A man who once worked for the good guys when they needed someone with the stomach for dirtier work to be done, but has long since worked for the other side supplying arms and other contraband. In prepping this operation in Antwerp, Jack taps eccentric arms dealer Yaz (Dennis Rodman) who himself “doesn’t play with the bad boys anymore, just the good guys.” They strike a fun chord with one another, making a memorable impression. However, Quinn misses the target, and the mission is a failure. Stavros loses both his son and girlfriend in this violent encounter. In the aftermath, Quinn is sent to an island called “The Colony” where former intelligence agents and assassins work together to counteract terrorist plots around the world. Jack is ushered through this new environment by former operative Goldsmyth (Paul Freeman). However, Jack seeks escape from the seemingly inescapable island after he receives a message from Stavros stating the he has abducted his pregnant wife who is about to give birth to their son. A daring and dangerous escape brings Jack back to Antwerp seeking Yaz’s arsenal and savvy. What ensues beyond this is an unlikely partnership that evolves, through adrenalin fueled danger, into a trusted friendship as Quinn attempts to save his wife and child while trying to burn down Stavros once and for all.
What would make or break this film was clearly going to be how Van Damme and Rodman meshed. The eccentric NBA star was hot news at the time easily coined a bad boy for his antics on and off the court. Here, he is surprisingly funny and likeable without being crass. I found him nicely charming generating a lot of the film’s clean sense of fun and humor. Van Damme holds down the more serious end of things nicely. It’s not anything exceptional, but he inhabits Jack Quinn very well. You can feel his determination and love for his wife and child throughout the film. JCVD has a lot of heart to offer in these roles which I think gets overlooked by the sensational aspects of his movies. As Quinn, it really shows through. And while Rodman handles the bulk of the humor, Jean-Claude dishes out a few quips here and there as banter with Yaz. As a team, they may not be 100% pitch perfect, but their performances balance out the film well. Van Damme and Rodman seem to be enjoying themselves, and their chemistry works out to surprising success to make them a fine, if unlikely team. Of course, there are numerous basketball jokes throughout the movie, but they are handled with a bit of charm. And frankly, would you expect otherwise? A film of this sort with many plot, humor, and character throwbacks to the cliché 1980s action film couldn’t possibly deny those ripe opportunities. Don’t take that as a knock at all. Double Team takes that style and formula, and gives it a nice splash of fresh paint with a late 90s style. A sharper, sleeker design that I thoroughly enjoyed.
Mickey Rourke could play a heavy without even trying, but as we’ve seen in recent years, he has a wide range of acting talents. Here, he doesn’t need to stretch far, but Stavros is a solid villain with a fine array of henchmen and assassins. He has a clear plan of revenge that he handles calmly and confidently. He keeps his cool throughout because he’s got the game nicely strategized for Quinn to follow his lead. Mickey has a smooth coolness wrapped up with a tough bad ass edge which suits Stavros perfectly, and gives Quinn a hell of an enemy to combat.
Rounding out the meat of the cast is Paul Freeman as Goldsmyth. The role has some nice British charm mixed with a touch of humor and shadiness. He’s both ally and adversary to Quinn, and he shifts from one to the other with a bit of grace without losing his likeability. Goldsmyth would rather not have to be an adversary, but circumstances deem it necessary for him to be as such. In the end, Goldsmyth is given an upbeat final note to go out on. Freeman handles the role smoothly.
The action, of course, is very well handled. Competently shot with a dash of style, and nicely edited to maintain energy and pace without sacrificing the clarity of the visual storytelling. I have not seen even most of Van Damme’s movies, but this has a nice mix of action sequences that should satisfy his fans. He does plenty of hard hitting martial arts fights mixed with shootouts and explosions to keep the film exciting and varied. The climactic action sequence is flat out AMAZING with a tiger set loose on Quinn in the Roman Coliseum with a field of hidden landmines, and some daring motorcycle antics by Yaz. It’s an explosive, rather original double edged ending that also gives Rourke the chance to show off his impressive physique. Mickey Rourke trained rigorously to be up to Van Damme’s level for their fight scenes, and certainly holds up his end providing a formidable adversary. This being a film from the late 1990s, there’s some splashes of John Woo style action, but in general, it’s solid work. The European setting is a very nice touch giving a different style to the film in many ways. It helps the movie to stand out a bit more with a fresh flavor.
Other elements of fun definitely come from Rodman’s character. He handles some brief, but enjoyable and entertaining action sequences. Being an athlete already, I’m sure it was an easy fit for him, and the role is written in such a way to maintain a sense of sly humor. It all fits for his character’s style, and supplements the more hard hitting action that Van Damme offers. Another fun bit are Yaz’s “cyber monks.” A group of monks in Rome that Yaz has befriended with the gift of modern technology. They are an endearing bunch which provide some additional smiles and chuckles for a brief period late in the film. The humor present in the film really does help balance out the heavier dramatic and action aspects, and gives Double Team its endearing charm. There’s some cheesy dialogue, but it’s all handled in good fun.
Again, the cinematography offers up some style that is very telling of the time it was made. Dutched angles here and there are used more to add a stylistic composition to a few shots than create an artistic off-kilter perception. Unlike in Thor when it was used to no purposeful effect, here, it just feels like a sign of the times. Dutch angles in action films were used as a stamp of “cool.” You would shoot a subject with an awkward angle, and they take on a more skewed “cool” look in combination with the sleek, shadowy lighting. It’s nothing I take issue with, but it is indeed a trademark of late 90s action films that a modern audience wouldn’t be so used to.
The plot is pretty standard fare that was practically a decade old by this time. That was brightly highlighted in the Nostalgia Critic’s review of the movie, which is what sparked me to check it out, again. However, as I’ve said, I think the storyline is handled well with doses of humor, Van Damme’s unique action stylings, and the European setting. While the film does have its humor, it’s never used at the expense of the drama. It’s very nicely balanced for both to co-exist without clashing. The movie is well cast with actors who bring distinctive personality to their characters, and make the ride one worth taking. There are certainly gaps in logic with the screenplay, and some things on-screen are a bit ridiculous. Still, like I said, this was meant to be a fun thrill ride. It never takes these elements are serious, and are usually brief gaps.
I watch Double Team again now, and I just wish they made a sequel. It’s so much fun with enjoyable, colorful characters, and nicely energetic and slightly over the top action sequences. Plans were considered for a sequel, and while its box office take did exceed its production budget, it wasn’t a huge success. Every film, generally, should be judged on its own merits, and based on the genre and style of film this is, I think it’s definitely worthwhile. Plenty of big action to be had along with some solid laughs.