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.
In the early 2000s, Sylvester Stallone was struggling to rebuild himself from some of his cheesy action movies of the 90s, and these efforts didn’t all meet with much success. Get Carter is a remake of a 1971 film of the same name starring Michael Caine in the title role, and this remake was received with negative criticism and a poor box office take. However, I saw this film on opening weekend, and I have very much liked it ever since. Having still not seen the original movie, I imagine I have the ability to view it much more objectively. Still, almost any movie promising Sylvester Stallone in a fist fight with Mickey Rourke and a hilarious John C. McGinley is pretty cool to begin with, but I honestly feel the film has a lot of worthwhile merit in many regards.
His name is Jack Carter, and you don’t want to know him. When it’s your time to settle your debts, you pay what you owe, or Carter will make you pay. While working for the mob in Las Vegas, Carter (Sylvester Stallone) learns that his brother has died, and returns home to Seattle in order to learns the how’s and why’s. His brother left behind a wife, Gloria (Miranda Richardson), and a teenage daughter, Doreen (Rachel Leigh Cook), which Jack feels he must now take care of since he was not around when it mattered most. Though, when digging into the death of his brother, Jack comes to suspect that is was no accident, and that someone has to pay up.
Now, what even some of the middle of the road reviews gave credit to was that Stallone is solid as Jack Carter, and I enthusiastically agree. I really like that Jack is a guy who carries a weight of regret with him to where he has this post-facto sense of responsibility. He might be a guy who beats people up for a crime syndicate, but there’s a certain moral compass to Jack which Stallone grasps onto perfectly. There’s a lot of subtlety to his performance showing the superb reversal on the over-the-top action hero roles of Judge Dredd or Demolition Man. He brings with him a low key presence of intimidation, but still finds those moments of clever signature Stallone charm and wit. Jack Carter has a warm heart and compassion for those he cares about, and this comes so very naturally to Stallone. There’s such a great depth of dimension to what he does here. Sly gives us a complex character who intensifies the emotional drive of the film. It’s also amazing seeing how bulked up Stallone got for this movie. He’s larger than ever, and it really works for Jack’s tough, bad ass presence. Yet, it is that softer side of Jack Carter that really impresses as he shows a lot of pain after a certain point really hitting you deep in the heart, and that translates into a venomous vengeful determination in the film’s third act. It’s an awesome, compelling performance by Sylvester Stallone that amazingly reminds you that he can be a stunning, complex actor. I think it’s one of his best performances since First Blood.
A lot of the depth of heart and substance is carried on through Miranda Richardson and Rachel Leigh Cook. Richardson is great as Gloria who is in this constant uncertainty about Jack. At times she can confide in him about her problems with Doreen, but at other times, can condemn Jack for bringing further trouble upon them and being absent from their lives until Richie died. Richardson has pitch perfect chemistry with Stallone standing strong on her own while showing the emotional turmoil inside. Meanwhile, Cook very easily endears herself to Jack and an audience with some sad sweetness and sympathetic charm. As certain things are revealed, and far more tragic layers are peeled back from Doreen, Cook is really able to demonstrate the soul of her heartbreaking talent. It really ends up being the pulsating emotional core of this film.
I really like the scenes between Stallone and Mickey Rourke. These are two actors who genuinely seem like they enjoyed working off each other. They’ve got the right rhythm and chemistry that these two characters should have being old acquaintances and all. Rourke has the right charisma and air of sleaze as Cyrus Paice which makes him very entertaining to watch, but also, a real piece of scum that you want to see get busted up by the end. Rourke and Stallone are two buffed up bulls ready to lock horns regularly, and when they do finally trade punches, it’s a straight up bad ass brawl.
Anyone who loves John C. McGinley’s comedy work would also love him here. He plays Con McCarty, an associate of Jack’s in the Las Vegas syndicate, and I swear he ad-libbed the majority of his dialogue. It is just so brilliantly quick witted, off the cuff, and hilarious that he’s an utter, endless joy. It’s a performance like this which shows that this is a film that is interested in balancing the heavyweight drama with sharp beats of levity. And Alan Cumming is quite good as the geeky wet rag dot-com millionaire of Jeremy Kinnear who has gotten in way too damn deep with seedy individuals. He is a pleasure to watch in this role as Stallone looms over him with his brute intimidation. Of course, Michael Caine does a fine job in a somewhat small role as Richie’s now former employer, and Caine and Stallone have some solid scenes together. Apparently, even Caine endorsed Stallone as a respectable successor to his original role, and including him in this cast was a really nice touch.
I really adore the look of this film from director of photography Mauro Fiore. It’s soaked in this somber tone of overcast gloom of blues and greens that really absorb you into the tone of the movie. Director Stephen Kay really pushed hard to have this filmed in Seattle, and the beauty of the rain soaked city makes the film feel a little more unique. There’s also some unconventional style to Get Carter that might not work for many films, but all of the artistic flourishes really meld together beautifully, in my opinion. The strategic slow motion beats add a sense of grace to the photography, and Fiore moves the camera extremely competently with plenty of steadicam. I like that when Jack’s whole world turns upside down so does the camera accentuating a particularly unique filmmaking style that I really like here. There is some stylish editing with a few jumpy cuts, flash frames, and speed changes. I could see how some would find that irritating, but I really got absorbed into the mindset of this movie. Stephen Kay uses these stylistic choices to slip you into a character’s perception such as Jack’s world fracturing. Get Carter was edited by Academy Award winner Jerry Greenberg who also edited The French Connection, Apocalypse Now, Kramer vs. Kramer, and Scarface. Here, he superbly executes Stephen Kay’s vision right from the opening credits sequence onward.
There is a great, moody collection of music here in addition to Tyler Bates’ unique and stylish score. The original theme for the 1971 film by Roy Budd is utilized and remixed for this remake, and it is a beautiful composition that just tingles my senses. There are some techno tracks infusing some dance club style vibes into the movie. I particularly love the ethereal Moby track during the funeral scene. All of this music creates a very soulful or energized originality to this film that melds well with its visual stylings.
There is some really well put together action including a couple of very smart, tense car chases. Action directors who love their shaky cam could learn something from this film. Stephen Kay does make use of some unsteady photography and tight framing, but the editing is properly paced so to not confuse an audience. There are quick cuts, but because the lighting is clear, the compositions are just right using good angles, it all works. The latter car chase is really great, and it has a really cool stunt crash at the end. Yet, while there is exciting action, this film maintains that emotional and character based focus as Jack Carter delves further into the seedy underbelly of Seattle.
When Jack goes into full-on revenge mode, this movie gets dead-on bad ass. The grit really surfaces in the visual style and Stallone’s performance. Everything gets pretty dark and intense as Jack deals out his sense of personal justice in violent, sometimes lethal ways. This is a revenge movie driven by a lot of emotional depth and substance. Jack is going to clean out the trash, but the mending of emotional wounds is just as important to him, if not more so. It’s all wrapped up in his personal sense of obligation to the extended family he’s neglected, and a need to prove to himself and others that he can be a better man than his history has shown. There’s also a subplot where Jack Carter is involved with the syndicate boss’ woman back in Vegas, and this runs through the film a little. It’s another emotional tether that puts stress upon Jack especially when Con is sent to “take care of business” with much intended finality. Most revenge movies are just about the violent retribution, but this movie really delves you deeply into the hearts and souls of its sympathetic characters.
Get Carter is damn good, in my opinion, because it does take the time to develop its character and give you a dimensionality to connect with. You feel Jack’s pain and his need to put things right, and your sympathy easily flows for Doreen as the film progresses. Stephen Kay did do a really exceptional job with making these characters feel poignant, and have the consequences of everyone’s actions feel like they carry the weight of the world. This is really the kind of revenge thriller that truly captivates me because it’s not just gunning people down for ninety minutes, which does have its satisfying qualities. The substance of everything here saturates the film, and Stallone carries it all so amazingly well. The ending might have used a little more weight and veracity, but the payoff is satisfying regardless. I highly recommend this remake of Get Carter. If you’re a Stallone fan, like me, you should definitely give this a watch.
If you love Stallone’s bonafide action films, then Cobra is absolutely one of his signature outings. It also has an interesting origin. It originally started out when Stallone was cast as the lead in Beverly Hills Cop, but instead of the action comedy we got with Eddie Murphy, Sly did rewrites to essentially change Axel Foley to Marion Cobretti. When he and Paramount couldn’t agree on this, they parted ways, and Cobra was born. This is also an adaptation of the novel Fair Game by Paula Gosling, which was the basis for a William Baldwin film in 1995 of the same name. I’ve never seen that film, but this one, it is a really damn good one.
Lt. Marion Cobretti (Sylvester Stallone) is a one-man assault force whose laser-mount submachine gun and pearl handled Colt 9mm spit pure crime-stopping venom. Cobretti finds himself pitted against a merciless serial killer called the Night Slasher (Brian Thompson). The trail leads to not one murderer but to an army of psychos bent on slashing their way to a “New Order”- and killing the inadvertent witness Ingrid (Brigitte Nielsen) to their latest blood spree. Fortunately, Cobra is her protector intent on bringing down these brutal maniacs.
Very notably, Cobra was helmed by director George P. Cosmatos who also did Rambo: First Blood, Part II and the absolutely amazing Tombstone. Under his skills, this is an excellent action movie! Primarily, the quality of the cinematography and editing is amazingly superb. I see a lot of good quality films of this sort on the filmographies of the editors and cinematographer that prove to me that this was not a one-off shining moment. This film does have a gritty style with a strong sense of mood and atmosphere for the urban environment. I took special note of just how well visualized this film was, which would have turned out very generic in much lesser hands. With Cosmatos, Cobra has real bite and punch. He also executes the high tension and suspense sequences with remarkable ability. The parking garage scene where the Night Slasher is stalking Ingrid is a gorgeous example of this.
The Cobretti character is surprisingly understated in most cases. Sure, when he’s in the heat of action, he’s bad ass and intense, but outside of that, Stallone plays it cool. He’s calm and collected handling urgent scenarios with confidence and sharp action. Stallone also brings his usual heart and charm, adding a little charisma and levity to Cobra, but overall, he’s a hard edged cop that’s ready to kick ass at a moment’s notice. The entire look of Cobra with the five o’clock shadow, black overcoat, mirror aviator glasses, and the wicked cool 9mm just certifies the character as awesome. Its not a character that jumps off the screen, but with that great look and a couple of cool one-liners, Marion Cobretti drives forward an entertaining film.
Brigitte Nielsen might be regarded very poorly today, but early in her career, she was particularly good. Her performance as Ingrid is soft and gentle in the most part, but she also handles the terrified moments in the film exceptionally well. Not surprisingly, she and Stallone have real good chemistry. They would later marry and divorce within a few years. Here, you can see their real life affectionate for one another shine through on the screen making for a heartfelt connection that adds more depth to both characters.
The use of Brian Thompson as the Night Slasher, our main villain, is just right. I honestly have never felt he was a particularly good actor outside of his powerful physical presence. However, the script and Cosmatos wisely utilize his imposing figure and psychotic killer look instead. He has extremely little dialogue until the climax where he monologs his creed about his New Order, and he does an exceptional job with this dialogue letting his deep voice carry its weight.
And I love Andrew Robinson in everything I’ve seen him in. He beautifully plays the smarmy Detective Monte who likes to throw his weight around, and dig his ego into Cobretti like a thorn in your side. You can’t wait to see this guy get what’s coming to him by the end.
By no doubt, there is a lot of excellent action here. Stallone gets plenty of chances to get physical with some hard edged fight scenes. Then, there’s an adrenalin pumping car chase with some great car stunts and rapid gunfire. Add in some tense, scary moments of Ingrid fighting for her life from the Night Slasher, and you’ve got a very intense, exciting action movie from a director who just knew how to film it with masterful vision. The editing on these action sequences is so perfectly tight. This is especially exemplified in the amazingly dynamic shootout and chase sequences that kick start the climax. The rhythm, pacing, and impressive choice of angles are just excellence on display. Cosmatos was a brilliant action sequence visionary, and everything in that climax is bad ass and awesome. It starts out hard and fast, and then, gets tough and brutal inside the industrial factory. The final confrontation between Cobra and the Night Slasher is really damn good. This is a great, tense, climactic moment that Stallone and Thompson play dead-on-the-mark in this fiery, industrial setting aided by the excellent cinematography and Cosmatos’ razor sharp direction. It’s wicked cool.
Further showcasing that this is an 80’s movie is the rock soundtrack. It starts with a sweet montage sequence fueled by “Angel of the City” by Robert Tepper, who also contributed “No Easy Way Out” for Rocky IV. We then get a couple of other tracks that are catchy, upbeat, and energizing to the vibe of the movie. This helps keep the film lively and little more memorable. The actual score by Sylvester Levay here serves its purpose right fine, but doesn’t standout as anything exceptional.
Cobra is a fun, entertaining, exciting film packed with action. It has a moody, serious tone with the door comfortably open for levity, but it never gets especially cheesy. This is a really good action movie that will satisfy even today. The standard fare script by Stallone is entirely elevated by George Cosmatos’ stylish directing talents. Cobretti himself is not all that fascinating as it’s the attitude and look that sets him apart including the cobra emblem Colt 9mm and the custom 1950 Mercury. It’s not a character that puts a challenge on Stallone, but he likely enjoyed the experience. I certainly would have enjoyed seeing a sequel, but this was also a time where Sylvester Stallone’s ego started swelling a lot. So, I can imagine there could have been some behind the scenes conflicts. Regardless, check out Cobra! It’s a solid piece of action cinema!
This is one of those Sylvester Stallone gems that both seems like it’s gained a respected following, but has never become a high profile hit. It doesn’t fall into the light hearted fare like Tango & Cash or Demolition Man or the substantive drama of Rocky or First Blood. Instead, this is a very good gritty cop thriller with a definite 1970’s aesthetic boasting a great performance by Rutger Hauer that foreshadows his acclaimed work in Blade Runner and The Hitcher. Nighthawks has its definite merits, but surely demonstrates why it’s a lesser noted film for Stallone.
When Europe’s most feared terrorist known as Wulfgar (Rutger Hauer) explosively announces his presence in Manhattan, two elite undercover NYPD cops (Sylvester Stallone and Billy Dee Williams) are assigned to stop him before he strikes again. However, the ruthless terrorist has other plans for the city – and the detectives – as he begins to hold its citizens in the grip of fear.
In the wake of big blockbuster successes like the Rocky and Rambo movies, and films with more flash and crowd pleasing excitement, you can understand how Nighthawks kind of flies under the radar. It’s very grounded and much more low key. It is also a slow building film with a focus on the psychological aspects of its main adversaries, and capturing that gritty, urban New York street cop vibe. Still, within that context, you’ve got a very admirable crime thriller here lead by some strong casting choices across the board.
I really believe Stallone leads this film quite well. Detective Sergeant Deke DaSilva is a solid cop who doesn’t back down easily. He takes on crime with intensity and fierce dedication, even if it costs him his marriage or his well being. Stallone makes DaSilva a tough cop, but one with a morality and heart. Despite the fallout with his wife, Deke still desires that loving connection, and he won’t become the cold blooded assassin that the British counter-terrorism specialist wants him to become. Stallone does a solid job keeping DaSilva true to who he is sticking to his principals as a seasoned cop, doing his duty, but doing it his own way. We see him as a perceptive, smart cop that is dogged in his pursuit of Wulfgar.
As DaSilva’s partner, Detective Sergeant Matthew Fox, Billy Dee Williams entirely carries his own. Fox can be more even tempered and flexible than DaSilva, allowing for him to keep his more passionate partner grounded and focused. Billy Dee also has some playful moments adding a few minor moments of levity as, again, a counterbalance to Stallone’s harder edge intensity. Still, when the situation gets serious, Fox is as solid of a cop as anyone.
Rutger Hauer has shown his talent for brilliance, and Wulfgar is no exception. He brings a cold, calculating sophistication that forges his gravitas. When Hauer is on in a film, he captivates your attention with a electrifying presence, and he does that here. As Wulfgar, he can be frightening because as dedicated as DaSilva is, Wulfgar is equally so to his cause. You know he’s a sociopathic killer who is a vehement believer in these radical causes. He’s more than just a hired gun, and that makes him immensely more dangerous. It’s not about money for him. He inflicts this death and terror for a political purpose that he believes in, and he is not going to stop. As the British counter-terrorism specialist says, “He’s only beginning.”
I also have to give some praise to Joe Spinell who portrays Lieutenant Munafo. While his role is minimal, he’s damn good carrying a commanding weight and authority. He mainly works opposite Stallone, and keeps the somewhat hot headed DaSilva in line very convincingly. Of course, Persis Khambatta complements Hauer extremely well as the dangerous, cold-hearted Shakka. It’s a polar opposite turn from her role in Star Trek: The Motion Picture, and that is largely welcomed along with her rich, beautiful black hair.
Like I said, this feels entirely like a 1970’s cop film with the gritty style, Earth toned fashions, Stallone’s beard, and sort of a streetwise funky vibe of the score. It might be an early 80’s film, but you can find plenty of bleed over from the previous decade through to about 1983. Considering this started out as a second sequel to The French Connection, it’s easy to see why this works so well in that context. The pacing is methodical lending more towards the dramatic development than excitement. The film could probably use a little more excitement to ramp up the danger and stakes in the second act, but especially for its time, this was quite good.
Now, Nighthawks surely has a few action set pieces including a great foot chase through the New York streets and into the subway. However, it is very much a thriller built on suspense and tension. Stallone and Hauer create this electrifying connection which drives the entire film. The sequence on the Roosevelt Island tram is a great example of those personalities at conflict enhancing the peril of Wulfgar’s game. His terrorism is no longer just about a cause, but a game of wits between both men. Wulfgar toys with DaSilva, bringing him in so close, forcing the Sergeant to look him in the eye time and again, but denying him at choice to fight back. This results in a nicely solid and taut piece of work. The ending is superb focusing on a great deal of suspense and imminent peril, but I would think a modern audience might feel it’s not as climactic as it could be. This ending has become the most memorable aspect of Nighthawks, and it is executed with great care and a few inspired visuals.
As I said, this is a film build as a slow boil thriller than an exciting action ride, and I feel it succeeds at that. Surely, more could have been done to intensify the narrative and build more momentum going into its climax. Regardless, I’ve always appreciated and enjoyed Nighthawks. Stallone does a really solid job complemented well by Billy Dee’s supporting role, and greatly counterbalanced by Rutger Hauer’s chilling brilliance. If you enjoy the work of either Stallone or Hauer, I definitely believe this is one you should not overlook. Bruce Malmuth did a fine directing job here, but in a fourteen year career, he never had a breakout hit. His only other high point was the decently effective Steven Seagal action vehicle Hard to Kill. With Nighthawks, it’s a nicely solid film that likely won’t blow you away, but may indeed intrigue you through the high quality performances it offers.
Recently, in order to expand the exposure of Forever Cinematic, I have begun doing video movie reviews on YouTube. Now armed with my new high-definition camcorder, I’m putting forth fast paced reviews that summarize my feelings and critiques on various films. Mainly, I am reviewing newly released films alongside the written reviews, but in lulls between those reviews I am taking stuff from the archives to further publicize the back catalog of reviews I’ve done. The video reviews are an extension of the written ones, and I will not be doing a video review of something I have not done a written review of first. These video movie reviews only enhance the content, not replace it.
So far, listed below these are the video reviews I have done which are posted to the RavensFilm Productions YouTube Channel. The first two were shot prior to obtaining my Sony HDR-CX580V camcorder, and so, they are in standard definition quality. From Miami Vice forward, you get 720p HD in 24fps which is a massive upgrade on every technical level. There will also be occasional Forever Cinematic “Specials” where I maybe do a Top 5 list, spotlight some bad movies I own, do a run through of my complete Star Wars home video collection, or whatever else strikes me as fun and entertaining. I hope you will enjoy these videos, share them around, and subscribe to the RavensFilm Productions YouTube Channel to catch all the new videos as they are posted. Thanks much!
I have no preface for this review except to tell you that Walter Hill and Sylvester Stallone are a blockbuster combination that have delivered an excellent, hard-as-hell and graphic action film that you MUST SEE! Simply said, this has Walter Hill’s vintage style all over it, and I love it! If Bullet to the Head signals a turning of the genre back to its best roots of hard edged bad assery, I’m all for it!
After the seasoned criminal Jimmy Bobo (Sylvester Stallone) and his partner Louis Blanchard (Jon Seda) carry out a hired hit, they are targeted by a mercenary named Keegan (Jason Momoa) who kills Blanchard, but fails in his attempt against Jimmy. With the mark for the hit being a former corrupt Washington D.C. cop, it brings Detective Taylor Kwon (Sung Kang) to New Orleans to investigate who he was hooked up with, and why he was killed. However, Kwon soon finds himself lethally targeted, and joins forces with Jimmy in order to weed out and bring down whoever wants them both dead. The unlikely duo soon take on all who stand in their way, but where Kwon wants procedural justice, Jimmy is ready to exact brutal, unforgiving revenge.
I revisited both 48 HRS. movies within the last two months, and so, Walter Hill’s classic style is really fresh in my mind. I am a longtime fan of The Warriors, but Bullet to the Head certainly follows more in line with that sort of buddy cop dynamic. I could really feel that vibe coming off this movie right from the start, and it had me hooked in by the end of the opening credits. I was loving this movie within the first five minutes, and it never disappointed me. Aside from the modern technology aspects, this feels right at home with a solid 1980s hard-hitting action film, but Hill does throw in some modern style to update it a little. Bullet to the Head has a neo noir edge to it, but it doesn’t go down the Michael Mann route. This vibe is mainly due to large chunks of the film taking place at night, and we get some very appealing cinematography out of it. There are some shaky cam tropes used every so often, but it’s far from being the worst I’ve seen. There’s some restraint used to keep the action scenes really satisfying, and while I would’ve preferred more restraint or at least wider compositions, it did work quite well for this film.
Stallone is excellent through and through. He shows that he’s still got what it takes to be a top tier action hero. He is really in phenomenal shape showcasing a lean, ripped physique that presents a man that can clearly rip you to pieces. Sly gets plenty of chances to show his physicality with some really bone crunching hand-to-hand combat in addition to all the brutal, graphic gun violence. Yes, indeed, there are numerous people getting their own bullet to the head throughout the movie. Acting wise, Stallone’s solid. He really carries the dramatic weight of Jimmy well, much in part to his grizzled voice. The film’s not dripping with emotional grief or anything, but you definitely feel Jimmy’s dead set determination in finding the people responsible for his partner’s murder. The scenes Sly shares with Sarah Shahi, who portrays Jimmy’s tattoo artist daughter Lisa, are really well done. There’s definitely a rocky relationship there, but not one of heavy friction. They play well off of each other creating a mature and honest father-daughter relationship that has some weight and grit.
The humor in the film is really played out nicely between Stallone and Sung Kang. The trailers did do it justice as it seemed a little low grade, but in the context of the film, it really had me laughing quite a bit. I like how Kang’s Detective Kwon keeps poking fun at Jimmy’s age, and it’s handled in an almost bad ass way when Stallone retorts that still sells a laugh. It’s nicely written and smartly performed. Both actors really grasped the tone and chemistry the film was going for, and it kept the tone light and fun when needed in between the slam bang action scenes. That is a perfect example of a 48 HRS. Walter Hill style and balance of tone. The humor works with the hardened action tone of the film, and invests you in the characters in how they contrast and complement one another. It’s certainly something not every director can do, but Hill proves he still has that skill.
I will admit that Sung Kang himself start out a little weak in the film. He wasn’t really selling me for the first few scenes, but once he clicked into the chemistry opposite Stallone, he really fit in quite well. Detective Kwon is a very by-the-book type of cop. He’s using Jimmy only as a means to an end, and is quite set in his ways of adhering to the law all the way through. So, there’s this tough, seasoned hitman paired with a rather mild mannered police detective who wants to keep what they do on the straight and narrow. However, they regularly clash in stellar fashion creating both some of that humor, but also, a fine building of a relationship that keeps forcing them back together. Still, despite Kwon being very conservative with his violence, he regularly impresses by having the skills to take down an adversary quite efficiently either by hand or by gun. So, Stallone doesn’t get all the action glory. Sung Kang has his fair chances to show us something unexpected and satisfying in that vein. There might be some that feel he wasn’t the absolute best choice for this role, especially since Thomas Jane was originally cast in it, but I think he earns his merit before the end. Beyond anything else, Kung and Stallone work very smoothly together making this a very entertaining film.
Now, I was extremely impressed by Jason Momoa. His role of Keegan is a very stern faced killer, but one that is simply a massacring bad ass. As his employers say in the film, he enjoys the work he does. He takes pleasure in killing, and he gets a ton of chances to indulge himself. He never just walks in to kill one person. He’s there to kill everyone in sight, and Momoa delivers to us a genuinely sadistic villain that you’d love to hate. He may only be a hired gun, a mercenary, but he fits right into that perfect role of like James Remar from 48 HRS or Andrew Divoff from Another 48 HRS. He may not be the mastermind criminal, but he is the number one force to contend with and is the one that we really want to see taken down. Momoa is really awesome in this role, and he seemed to have loved playing it. He makes Keegan intimidating and heavily threatening, despite his impressive muscle bound size of 6’5”.
Christian Slater has a nice turn as the somewhat sleazy Marcus Baptiste, a rich lawyer who enjoys his women and narcotics quite a bit. He only has a few scenes, but Slater does sell the antagonistic character with plenty of zeal. Baptiste is working with the actual mastermind of Morel, an African gentleman portrayed with sophistication, arrogance, and amoral villainy by Adewale Akinnuoye-Agbajeas. It’s a very subdued performance, but one that works quite well for the character. Both actors gives us some firm antagonists with realistic motives that solidly fit the film and story.
And indeed, this is a hard R rated action movie with plenty of bloody gunshots and some explicit female nudity. It’s been a long time since I’ve seen an action film be so casual and open with showing nudity, and it was very much a pleasing sight to my eyes. Baptiste has a masquerade party where many of the masked women are wearing little else but those masks. It was very titillating, but it does not distract the film away from its plot. It doesn’t indulge in anything gratuitous beyond that. Conversely, this may not have as much graphic violence as Dredd, but it surely lives up to that standard I just recently discovered. Just like in Dredd, and again, living up to its title, people get shot in the head continually. The film even sets up the need for it early on when a guy doesn’t go down until he’s shot in the head. So, Jimmy Bobo is dead-on-the-mark, accepting nothing but point blank kill shots to the cranium. While some of the blood splatter is likely CGI, it at no point did it distract from the awesomeness of this movie. We get some big explosions in this that kick ass, and tell you that this movie is taking no prisoners. It’s going to deliver that hardcore bombast that has been missing in most action films these days, and it’s gonna to do like only Stallone and Hill can. What I really loved was when Jimmy and Keegan duel with those axes. That is not something I believe I’ve seen in an action film before, and it seriously made for one really intense and suspenseful fight. On wrong move, and you could be missing a body part. It was a tremendously climactic and amazing action scene that amped up the level of tension and brutality that I wasn’t expecting. From the trailers, I knew it was going to happen, but I didn’t expect it to be that damn good of a scene. It was fuckin’ great!
I also really loved the score by Steve Mazzaro. It’s very bluesy with some hard electric guitar and prominent and beautiful use of harmonica, giving this a real seasoned and down to Earth feel. It sets a real down south vibe for this New Orleans set film that really just works amazingly well. However, most of the action scenes are very minimal on music. At most, you get a little underscore for a low end vibe, but mostly, you’re hearing the sound effects of guns firing, fists crunching bone, bodies slamming into hard surfaces, and axes clanging together. I think that worked excellently with this very hard edged action as there is a lot of impact with those sound effects. They really enhance the brutality of the movie, and I couldn’t have asked for anything better.
Seeing both this and Dredd within the same month really energizes me into believing that hardcore R rated action movies are making a genuine, high quality comeback. Talented filmmakers, both old and new, are delivering to us some really amazing movies lately that are giving the action genre that hard hitting adrenalin shot it needed. Stallone is in top form and clearly enjoying himself in this movie, and he was in masterful hands with Walter Hill as the director. I had a HELL of a great time watching this in the theatre, and if a friend of mine was going to see it later, I’d tag along for a second viewing. Bullet to the Head is a fun, exciting, ass kicking 90 minute thrill ride that is worth taking more than once. It keeps itself simple by not trying to complicate the plot with any big twisting narrative. It’s very straight forward and right to the point. This is one awesome movie that satisfied me from the very beginning to the very end. And this is literally a movie that starts with a bang! I give Bullet to the Head a definite SLAM BANG recommendation! This year now has a lot to live up to in terms of action movies for me, and I damn well hope it delivers. So, 2013 – you have been put on notice!
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.