This is one of those movies I haven’t watched since the 1990’s, but I remember liking it a lot. In watching it again, it’s amazing just how much of it I remember, which is a hell of a lot. This might seem like an under the radar action movie, especially since it couldn’t even earn back half of its $8 million budget upon its theatrical release, but boasting a cast of Christopher Lambert, Mario Van Peebles, Denis Leary, and Patrick Stewart, it’s got respectable muscle. That’s one thing that always struck me strongly about Gunmen in addition to Lambert and Van Peebles teaming up as buddies in this, and then, portraying enemies the following year in the third Highlander movie. So, let’s see what Gunmen has to offer that I find so vastly entertaining.
A bounty hunter, Cole Parker (Mario Van Peebles), and a con man, Dani Servigo (Christopher Lambert), each have half the clues to the whereabouts of a $400 million treasure of stolen drug money. Against their wills they are forced to team up to battle an elite squad of mafia assassins employed by the wheelchair bound Loomis (Patrick Stewart), and led by the ruthless Armor O’Malley (Denis Leary). If Cole and Dani survive a relentless chase across a jungle and two continents, they will have to face each other because a half billion dollars is not enough to share.
Gunmen is a fun action film, but one with heart, character, and dramatic weight. This all comes to us from Deran Sarafian, the director of Death Warrant, and screenwriter Stephen Sommers, who would go on to director Deep Rising, The Mummy, and various other fun big action movies. This seems to be a really good pairing. Sommers’ writing creates a fun concept with strong characters and his signature dashes of fun and humor. Sarafian grounds the movie with a real grit which mixes serious consequence with a thrilling ride. He makes it a harder edged action movie than Sommers typically would make, and that style perfectly works for this film. Plus, I like that the film hits the ground running dropping us into events already in motion as everyone is already on the trail of Dani and the money. That rhythm and tempo remains constant throughout the film propelling every event forward briskly. There’s very little slowing down in Gunmen, and because of that, these filmmakers are able to tightly pack a lot of exciting content into the 90 minute runtime.
I also really like that this film is a bunch of criminals, mercenaries, thieves, and bounty hunters running amuck. There’s not a law enforcement presence anywhere at all. Lots of betrayals, distrust, and personal agendas twist the plot around making it fun and interesting. This keeps every character on their toes, and allows for some spontaneous moments of drama and humor to occur that just add to the fun factor. At its core, Gunmen is a buddy action film headed up by an incredibly perfectly pair of actors who give it vibrant life.
Frankly, any movie where Christopher Lambert is having a good time is a winner for me just on entertainment value alone. His character of Dani Servigo is full of laughs all the way. Where Mario Van Peebles is the straight arrow and dramatic anchor of the duo, Lambert is the comedy, but is not farcical. These two have excellent chemistry together, and Van Peebles is able to get his fair share of humor into the mix. Once they spark off that chemistry, the film becomes more and more fun. The banter between them made me laugh so much. It’s a real delight. And Van Peebles really shows a lot of worth leading this film with a strong weight, charisma, and edge. Cole Parker is a definite tough bounty hunter able to hold his own against anyone, and is portrayed as a very smart, sharp, and cunning professional. Yet, while there’s a lot of fun, Gunmen still finds those quiet moments of character building and heart-to-heart scenes to maintain substance. Cole and Dani solidly bond together, but they still have their fun adversarial moments such as Dani shooting Cole in the leg to keep him from running off with the money and Cole later returning the favor to sharp, clever comic effect.
I severely love Denis Leary. He is a great comedian, but he has always impressed me with his dramatic work. I especially love his turns in Judgment Night and Suicide Kings, and here, he plays vicious bastard immensely effectively. Leary’s cynical humor is perfectly molded into an edgy, charismatic, sadistic, and bad ass villain. Armor O’Malley is a perfect mercenary out for himself, and willing to double-cross anyone for his own betterment. Leary’s sarcastic charisma fuels the performance and makes Armor an entertaining enemy all the way through.
Patrick Stewart’s role as Loomis is not expansive, but by no doubt, is solidly portrayed. You see this feeble man in body and mind ordering around Armor and his hired guns, and you can perceive someone who once had a strength and authority to him. However, age and circumstance have diminished him, and his sad double-cross departure in the film seems only inevitable. With Stewart in this role, it certainly adds a special notoriety to the character which elevates Loomis’ importance in the plot.
Lambert, Van Peebles, and Leary, along with many of their supporting co-stars, prove to be very action capable actors. As the title suggests, there is a very generous amount of intense gunplay and shootouts packed into the film, but there’s plenty of physicality and stunt work to behold. There’s loads of excitement throughout especially when helicopters are involved. That tight pace I mentioned before completely adds to the exciting momentum of the action. It just keeps on coming allowing for very little time to slow down, but it does have it s well timed breaths between the blazing thrills. The climax has everyone in a sort of cat-and-mouse game aboard a luxury motor boat, and it is very cleverly and sharply executed. I love how this is all shot keeping this a little shadowy to give the sequence some visual edge. Overall, the film is really damn well shot in the cinemascope anamorphic format from the director of photography of Star Trek VI: The Undiscovered Country. The quality of the cinematography really enhances every fun, thrilling moment of Gunmen.
I also really enjoyed the score by John Debney. Since the film is set in South America, we get some Latin flavor in the music that blends in beautifully with Spanish guitars and percussion. The action scenes have some very good and original driving beats which hold to that musical style. It’s really a wonderful piece of work from the man who would later score Sudden Death, Sin City, Predators, and Iron Man 2. This film also incorporates a lot of early-to-mid 90’s hip hop / rap music very well. It’s surely not my genre of music, but they are all very good songs which aid the vibe the film is going for. After all these years, the opening title track of “Bite The Bullet” by Kid Frost has stuck firmly in my mind, and I think that says quite a lot.
I honestly think I enjoyed Gunmen more now than I did years ago. It really is a solid, fun, enjoyable action movie with a fully charismatic cast that doesn’t disappoint. There’s near wall-to-wall action with a full helping of laughter between Lambert and Van Peebles’ superb chemistry. There are only a few films that really exemplify my preferred style of 1990’s action films, and this is definitely one of them. Really tight pacing with a grounded sensibility that still has its tone opened up for great fun. The film doesn’t get cheesy or diminish the grit of its action by adding in those humorous elements. It all works very cohesively for a well-rounded piece of entertainment. This is just a movie of pure enjoyment right from the start and it only builds as it progresses. While Gunmen got the shaft on DVD in the United States as a pan-and-scan edition, I was very pleased to find it on iTunes in its proper widescreen format for purchase or rental in standard or high definition. If you’re looking for a really solidly made action film with intense excitement and a lot of laughs, you really cannot go wrong with Gunmen. I give it a very strong recommendation.
The recommendation to see this film came from an odd source. An internet radio show discussion about the biggest box office bombs of all time. Deep Rising did just over $11 million on a $45 million budget in 1998 with a cruddy January release date. This was undoubtedly a major failure on behalf of the marketing campaign because, for me, this is a fun, exciting, scary, and action-packed film that is designed as a crowd pleaser. This comes to us from Stephen Sommers whose follow-up would be the massively successful and entertaining The Mummy, and if you enjoyed that film I really believe Deep Rising should work just as well for you.
The most luxurious cruise liner in the world, owned by Simon Canton (Anthony Heald), is on her maiden voyage when it is damaged and attacked from beneath the sea. Meanwhile, John Finnegan (Treat Williams) and his crew, who have a policy of “if the cash is there, we don’t care,” transport what turn out to be a band of ruthless hijackers who intend to seize and rob the cruise. However, when they all arrive, they discover the passengers have mysteriously disappeared, but they are not alone. Something is lurking behind every deck and passageway, snatching the intruders one by one, and they all now must fight together to escape with their lives.
What pleasantly hooked me first is the good cast. It’s not a stunning set of acting jobs, but these are actors who were having fun with the material and strike a solid chemistry. I’ve been seeing Treat Williams lately in television guest spots, but as a fatherly figure. Him as more of an action centric lead was really good. He demonstrates a fun, lively charisma that keeps you invested in how this plot unfolds. He felt very capable and comfortable in this role, which was originally intended for Harrison Ford. If you can think of Air Force One Harrison Ford, I’m sure the idea fits fine in your head, but Williams really does a superb job in this lead role. One might expect having him and Famke Janssen billed as leads would add up to a particular romantic subplot. There is a relationship built up between them, but the film doesn’t slow down for them to develop it in a traditional way. It’s more of a bond built out of the intensity of the situation, but there’s some nice pay-off with them at the end. They work well together equally carrying the weight of the action nicely.
Famke Janssen’s character, Trillian St. James, is a thief who tries to use slight of hand to slip into Canton’s vault early on, and really only survives due to being locked in the brig. However, the character doesn’t have much to her after the thief plot has evaporated, and is certainly doesn’t show off Janssen’s incredible talent. So, it’s not a film that’s going to go deep into characters like Die Hard, but the action moves fast enough that you don’t really notice it. I also enjoyed the humor from Kevin J. O’Connor’s character of Joey, Finnegan’s fun and quirky mechanic. Stephen Sommers would use him very regularly in his films from here on out, and I think O’Connor is a very good actor showing a range from serious roles like in Lord of Illusions to outright comedy in The Mummy. It’s possible that not everyone would enjoy him as the comic relief, but for me, he’s a little charming and surely funny. I never found him obtrusive as he definitely works well with Treat Williams, but also has some good adversarial dynamics with the mercenary characters.
Wes Studi portrays the mercenary leader Hanover to great effect. The actor should be known to Michael Mann fans as he had a supporting LAPD role in Heat and a prominent role in The Last of the Mohicans. Here, the work as Hanover is not as demanding, but he portrays a solid adversary who holds a tenuous allegiance through this harrowing scenario with Finnegan. At anytime, he can be strictly in command, but he can be, usually, smart enough to know when to work side-by-side in order to survive. The actors portraying his mercenaries are very good especially Trevor Goddard who was Kano in the live action Mortal Kombat movie. I enjoyed him being in the movie so much that I wish he was in more of it.
I’m actually a big fan of Anthony Heald. I’ve seen him on screen a few times on Law & Order and Miami Vice, but my fandom is more from his great voice work on various Star Wars audio books. He’s got a lot of sly, ingenious talent, and he portrays Simon Canton very entertainingly. As the film progresses, you learn some unsavory, underhanded things he’s done, and Heald plays up that aspect more and more. He takes what appeared to be a very refined yet charismatic and cowardly character and deteriorate him into a despicable, enjoyably sleazy adversary. He was fun to watch, and the film deals with its less desirable characters with a lot of satisfaction. Overall, I think all of the actors do a good job as they seemed to all put their best foot forward for this fun thrill ride.
The pacing right out the gate is really solid. It keeps moving forward at a tight rhythm and pace to rarely ever linger on any one scene. This is aided by some signature Sommers humor that is sharp and succinct. The actors all have really good chemistry to make this work, and Sommers maintains the right balance to not sacrifice good tension and terror for laughs. Still, I was thinking about halfway through the runtime how the film was going to keep up this survival / escape plan plot for another fifty minutes, but it throws in a number of smart turns, dangerous obstacles, and thrilling sequences to achieve that. Sommers keeps the film rolling forward with a lot of momentum, and of course, people get picked off one-by-one escalate the peril. Sommers gives us a fine melding of horror and action with enough to satisfy whatever you primarily desire more. Plenty of people get killed and eaten in bloody fashion, and there’s more than enough gunplay and fiery explosions to amp up the excitement. Yet, overall, it’s just fun without taking itself too seriously.
By no doubt, this is a fairly simple plot. Deep Rising starts out as a covert heist mission on the sea, but intriguingly twists into a sea monster movie that requires everyone to fight to survive. Why they don’t just haul ass out of there is handled well as Finnegan’s boat needs hull and engine repairs. Yet, it’s not a simple task getting out of the luxury cruise liner as danger awaits at every turn and in every flooded deck. Even then, not everyone between Finnegan’s crew and these mercenaries can trust one another, and that plays nicely into keeping the adventure treacherous. This felt like a nice mix of The Poseidon Adventure and Aliens with a little dash of Die Hard for the thieves / mercenaries plot. I just really liked the close quarters feel of the ship which also reminded me of Friday The 13th, Part VIII: Jason Takes Manhattan, but achieved with better results. There really is so much potential for a suspenseful movie set in that environment, and this film really delivered that to my satisfaction.
Still, as I was watching this I was waiting for something to pop up on screen to justify this film’s box office reputation. Just something stupid or low grade. I was enjoying it so much that I was expecting the CGI to be really bad, but quite frankly, in general, this is particularly good for the late 90’s. It’s rather on par with the digital effects in The Mummy for the most part, and the sea creature itself is impressively designed. That design is courtesy of Rob Bottin who was responsible for the groundbreaking and timeless creature effects in John Carpenter’s The Thing. There’s some traces of that in here, but Bottin is able to make it its own distinct creation. Tentacles are everywhere, and the long jagged teeth springing out from it are frightening. The tentacles frequently slither out from nowhere, or bust out from the hull or metal corridors. Sommers does a great job building up tension and suspense by gradually unveiling the creature. We get small glimpses of it, and even when you think you’ve seen it in all of its slimy, ferocious glory, the climax gives you the Coup de grâce. There are plenty of fun scares and thrills in how these dangerous scenarios unfold from well crafted tension to straight out intense action beats.
The action all around is just great with a really great, slick, high octane finale, and all of those thrills, tension, and intensity are well fleshed out with Jerry Goldsmith’s score. It just has a great driving rhythm and rousing, dramatic momentum to it, clearly reflecting the movie right on the mark. I didn’t expect Goldsmith’s name to be attached to this movie, but he really did deliver something solid that played up the strengths of it. It’s never going to amongst his revered legacy of work, but he did his job perfectly with this score by giving it just what it required.
Held together by some solid cinematography that always keeps the geography of these close quarters very coherent, and editing that maintains that consistent rhythm and tempo, I really have to say Stephen Sommers did an excellent job here. No one tried to make Deep Rising out to be more than what it was designed to be – a big, fun, suspenseful, action-packed ride. The film does have this sequel tease at the end, and while that was probably a fun final moment back in 1998, it’s not so much fifteen years later. Knowing the film bombed and no sequel was ever made, it just leaves you desiring a more proper conclusion to this adventure. Regardless, Deep Rising showed a lot of potential to be a hit. However, its failure was not the fault of the movie, but of a really underwhelming marketing campaign. The trailer feels like a slapped together direct-to-video trailer which conveys none of the film’s suspense or wider plot elements, and instead, relies a lot on CGI shots of the monster. That trailer sells this as a forgettable, cheaply executed movie. The poster campaign had some good teaser style ideas but lacked a big eye catching poster to encapsulate the film’s overall excitement and scare factor. It even resorts to promoting it as being “from the special effects team who made Total Recall and Star Wars.” How is that supposed to sell the quality of the movie? Beyond all that, a late January release was not a target for big box office success. Stephen Sommers made a really solid crowd pleaser of a movie, but was marketed lazily. That’s a real shame because this is a film I would’ve loved to have even seen back in 1998. It would’ve been a long time action favorite of mine. Still, I really like the tagline of “Full Scream Ahead.” Anyway, you can tell that I give Deep Rising a really solid recommendation. I thoroughly enjoyed everything it had to offer, and I think a lot of other people will, too.
Growing up in the 80’s I was a fan of G.I. Joe, and owned many of the toys that the cartoon generated. However, I was never that hardcore of a fan. As I grew up, the franchise didn’t stick with me as I gravitated towards Transformers overall. When this live action movie, directed by Stephen Sommers, was being made and released, it didn’t grab my attention. I didn’t give it a chance until a strongly opinionated friend of mine, who was a big G.I. Joe fan, stated that he did enjoy this movie. One iTunes rental later, and I was approving of this movie. Yes, it has problems, and has some serious unfaithfulness to the source material, but it’s a big, enjoyable science fiction stylized action movie, regardless.
Two soldiers stationed in Kazakhstan, Captain “Duke” Hauser (Channing Tatum) and his partner Ripcord (Marlon Wayans), are ordered to transport special warheads created by MARS, an arms manufacturer controlled by James McCullen (Christopher Eccleston). When they are attacked by a highly advanced terrorist group, led by Baroness Anastasia DeCobray (Sienna Miller), they are saved by a top secret, international special forces unit known as G.I. Joe. The leader of G.I. Joe, General “Hawk” Abernathy (Dennis Quaid) is on the trail of these thieves: an evil organization called Cobra. While Duke and Ripcord train to join the Joes, McCullen is secretly working for Cobra and plotting to recapture his metal-eating “Nanomite” warheads. Duke and Ripcord, with help from Heavy Duty, Snake Eyes, Scarlett, and the rest of the Joes, must prove that they are Real American Heroes by stopping the launch of these warheads before Cobra uses them to take over the world.
There are several alterations to characters and their relationships from the familiar comic book and cartoon source material. Why filmmakers have this compulsion to make changes of these kinds escape me. I don’t mind adapting a concept or idea to suit the live action filmed media as opposed to the more fantastical mediums of comic books and cartoons. However, the changes here didn’t need to be made to make the idea of G.I. Joe work as a live action movie. They were simply creative decisions made for whatever reason to tell the story these filmmakers wanted to tell, despite whether or not it fit into who these characters had been for over a quarter century. I’ll touch on these as I comment on some of the cast, as I have done some light research to understand the divergences at hand.
This movie has some acting talents that seem questionable to me at both the time it was released and in retrospect. Obviously knowing Marlon Wayans from increasingly badly received comedic vehicles, he was the most peculiar casting choice. While Wayans’ character of Ripcord does have a playful, somewhat silly personality at times, he’s decently enjoyable once you begin to take the film as a light, popcorn movie adventure. He even has a moment or two of charm as he begins to develop some friendly relations with Rachel Nichols’ Scarlett. As the film goes on, and the threats become more serious and imminent, Wayans rises to the occasion to make for a nicely respectable cog in this action centric cast.
Channing Tatum is someone that I’ve come to know as a rather uncharismatic actor with not much to offer. While he surely doesn’t give us anything close to the Duke fans knew from the original cartoon series, who was a very strong, authoritative commanding officer, he is fine in this younger iteration of Conrad “Duke” Hauser. It’s not a particularly dimensional performance, which could have helped in some instances, but Tatum decently fits the role as written. It’s fortunate that the film has so many characters you can fixate on so not to be distracted by Tatum’s limited abilities. It’s not an outright groan inducing performance, just a flat one that is aided by some decent comedic chemistry with Wayans. Still, a far better actor was surely available to cast in this role to make him a more standout lead instead of blending into the ensemble.
Thankfully, we have some strong, vibrant villains to enjoy. Christopher Eccleston is sophisticated, intelligent, but also despicably vile. He injects charisma and slick savvy into McCullen, aka Destro, that is distinctly different from his Sunbow cartoon incarnation, but ultimately, follows the character as he has been developed through other media over the years. Eccleston has a very good presence conveying a contemptuous weight towards the world without it feeling one dimensional. He has a very elaborate, smartly devised plan to place himself in control of the world. He works greatly as a global level villain whose motives nor agendas are shallow in the least. Plus, the English actor works a very solid Scottish accent.
The filmmakers made serious changes to the Baroness, who is supposed to be an Eastern European straight-up villain, but is now simply Duke’s American ex-girlfriend Anna Lewis who has been specially manipulated into being a villain. Regardless of this, Sienna Miller is endlessly and immensely hot in this very femme fatale role. She plays it with a lot of bite and sexy assertiveness. She is a bad ass villain that would’ve been perfect if the filmmakers played it faithful, but as it is, she does a damn good job making the Baroness alluring, dangerous, and intriguing. Essentially, this character change was made in order to create a romantic relationship for Duke to grapple with, and while it’s nicely executed, it still would’ve been more pleasing to see the real Baroness here.
Lee Byung-hun and Ray Park are probably the best parts of this movie portraying Storm Shadow and Snake Eyes, respectively. Both characters are straight awesome here. Storm Shadow is beautifully lethal and stealthy with a real cutthroat, edgy presence. I think he truly lived up to many fans’ expectations through an excellent, sharp performance. Obviously, Snake Eyes has no dialogue, but Ray Park’s expert athletic and martial arts talents shine through.
Cobra Commander is here in this movie, but doesn’t declare himself to be as such until the end. We are essentially given an origin story for him that is very much inline with that of the Baroness. For those that haven’t seen the movie, I don’t wish spoil the film’s intended surprises, but let’s say that it’s not the Cobra Commander you’re used to or expect. He was my favorite character from the 80’s cartoon series due to being a rather excitable, egotistical fool, and even there, his back story was never entirely consistent. What we even got in the animated movie was not very palatable to me. So, when I saw this movie, none of this new back story really hit a bad nerve, but it would have been nice if the filmmakers attempted to make him look like Cobra Commander in his final moments on-screen. Reportedly, they were fixated on the hooded look for the character, and avoided using it for understandable iconography reasons. Still, as the sequel demonstrates, the chrome masked version was easily adaptable, and its absence comes off as even stranger since the filmmakers put an odd translucent mask on him at the end, anyway.
The question is if all of these objectionable changes make this a poor movie. I suppose that depends on your perspective. I would imagine many very serious G.I. Joe fans with a knowledgeable and loyal history for the franchise would be upset by these arbitrary alterations. For a more casual fan, like myself, they don’t break the movie, but certainly make it less than it potentially could have been. It’s a tad surprising that this movie was co-written by Stuart Beattie, who I recently gave vast amounts of credit for his screenplay for Michael Mann’s Collateral. That was a brilliant, introspective movie of great, unique depth. This is far from that. Beattie’s co-writers have shallow filmographies with nothing much to really say they are exceptionally good or bad screenwriters. I’m not saying that this script is bad, though it has some shortcomings and flaws, but in terms of attempting to be a faithful adaptation, it has a lot of wrong turns that I’m not sure who is to directly blame for them.
Now, the quality of the CGI here is about standard for a Stephen Sommers movie, unfortunately. The effects in The Mummy were really good for 1999, and still hold up fairly well today. However, Sommers’ films have since become larger scale productions requiring more elaborate visual effects, and this is evidence of that. The CGI is used extensively, and is not really that good to be given so much screentime. Among six visual effects companies that worked on this, there’s no real distinguishing level of quality. I would be hard pressed to say any of the visual effects shots are anywhere in the neighborhood of great.
Still, despite the lacking digital effects, Sommers delivers some solid action sequences. They are big, explosives scenes with some inventive ideas and nicely choreographed fights. All of this action is very well shot showing that Sommers knows how to present and construct action sequences very competently. Plus, he knows how to inject a real sense of entertainment value into everything, even if some of the funny bits are somewhat extraneous. Still, the sprinkles of comedy entirely suit Sommers’ style that we saw in The Mummy and so on. A definite action highlight is seeing Snake Eyes and Storm Shadow battle, and Sommers treats it as a special attraction. There’s an early on battle between them, but the climax gives us the real juicy stuff. It’s just bad ass all the way through, if delivered sparingly, and I only wish there was more of it. Hopefully, I will get my wish in the sequel.
While G.I. Joe always had a bit of advanced technology giving it all a slight science fiction edge to it, this movie really pushes that full boar by even stating it takes places in the “not too distant future.” This is a movie of very advanced technology with people communicating through holograms, using nanomite weaponry, energy based weapons, entire underwater Antarctic lairs, and various other fantastical items. It does fit alongside much of the established franchise mentality, but it probably pushed the envelope further than it needed to. I like a little high tech gadgetry in G.I. Joe to make it feel special and unique, but I think a live action movie should probably ground the ideas more. Take it more away from the cartoony aspects, and make it a little tougher, more hard edged with contemporary weapons. While I found the film fun, this film franchise really does need to go that direction so it can plant its feet in the ground and push forward with a strong foundation. Take away the almost cyborg-like accelerator suits and the energy guns, and give us more down and dirty stuff. Ultimately, I think that sells easier and stronger to a wide audience. We can take a little fantastical science fiction every now and then, but if you’re setting the film in a recognizably contemporary time and not the especially distant future, sell it that way. Give us a bad ass military guy unloading live rounds from a machine gun. Laser weapons were used in the cartoons because they were cartoons. You couldn’t show people getting shot with bullets and dying in that medium. This is a live action PG-13 movie. Mature the content a little, and give action fans and the adults who were kids in the 80s something that appeals to them more. Don’t make it too violent, but do enough to be bad ass, which is what the soon-to-be-released sequel, G.I. Joe: Retaliation, seems to have done. Still, we’ll see about that in a few days.
The climax itself is full of plenty of action with both Ripcord piloting a Night Raven jet to intercept McCullen’s nanomite warhead missiles, and the assault on McCullen’s Antarctic lair. Like with the whole film, it’s tightly edited with constant energy propelling the story forward. The dramatic tension is kept high, and these intercut storylines flow very well. We get some very good, heroic pay-offs, but we ultimately understand that this is just the setup. G.I. Joe: The Rise of Cobra is the story that puts all the heroes and villains into their proper places to give the franchise a launching point. Plots have still been set in motion by Destro and Cobra Commander that will be followed up on in the next film.
Again, this is a film that I do find enjoyment from, but surely not frequently as I’ve watched it maybe four times in three years. It’s a nice, enjoyable ride with some very well executed action sequences that do aim to please, and a fine dash of humor and levity to keep it fun. It has a decent cast that generally does enough to be closer to Stephen Sommers better work, but it’s still a movie that could’ve benefitted from some better creative direction. I’m hesitant to give it a big endorsement because, again, there’s plenty of bad CGI all over the place and it fails to faithfully adapt the source material. For what it is, I think it’s mostly well done. It’s not the G.I. Joe movie that fans wanted or expected. The animated movie really diverted into very strange territory that I still find not to my taste. I don’t own that movie, but I do own this one. It’s closer to what a G.I. Joe movie should be focusing on terrorism and advanced technological warfare, but it did need someone at the helm that could shape it into what the fans desired. I do think it’s a better movie than reputation has seemed to label it with. There is plenty of entertainment value that surely never gets to the annoying levels of Michael Bay’s Transformers movies. I would recommend giving it a chance, but knowing that it still falls short of its potential in several areas. If for nothing else, it’s worth seeing Storm Shadow and Snake Eyes clash.