Posts tonen met het label arnold schwarzenegger. Alle posts tonen
Posts tonen met het label arnold schwarzenegger. Alle posts tonen
zondag 12 juli 2015
Today's Review: Terminator Genisys
Told you I'd be back with another review?
Terminator Genisys - recensie
And Arnold's back, too. Again. Wish he wouldn't be, considering the disappointing result. Once again a franchise is mucked up by messing with its time line. The producers obviously tok a hint from the financial success (brief as it was) from the recent Star Trek reboot. I hated it, because it created a new time line that hardly acknowledges the old which was running for nigh 45 years, basically saying 'anything goes' from here on out. I would have preferred it if they had shown more loyalty to the existing time line and its fanbase. Surprisingly, that is the route taken for Terminator Genisys, with equally lackluster results. In this movie's case, the new time line does nothing but acknowledge the old, resulting in a total nostalgia fest that rehashes characters, events and particularly oneliners from the previous installments. It offers nothing new, and only shows you the limits of the Terminator franchise if there is a mandate in place to incorporate the ingredients of its past successes, which was put in place because the previous installment, Terminator Salvation, offered too much novelty for many. I appreciated that movie for it. There's no innovation or novelty in Genisys, whereas in Trek's case by comparison, there was a little too much for my taste, so much so that it just didn't feel like Trek anymore. This movie undeniably feels like a Terminator movie, but still leaves a lot to be desired.
Maybe it's a sign that starting new time lines to retcon existing franchises just is a bad idea in general. How about creating new franchises instead, rather than desperately clinging to nostalgia? That's probably too revolutionary an idea for Hollywood's taste...
zondag 10 mei 2015
Today's News: Hateful Terminator captains
The end of the week witnessed news of a lesser magnitude:
Nieuwe foto's Tarantino's Hateful Eight
A colourful bunch of characters. A lot of guns. A batch of terrific actors. The prime ingredients of any Tarantino movie, and Hateful Eight proves no different, judging from these pictures. Though another Western, directly following Django Unchained (which may not wholly fit that moniker, it must be noted), this movie seems a whole different animal. It's got more principal characters, but less characters as a whole. It also seems limited in terms of setting, taking place for the most part in and around a stagecoach stopover during a heavy blizzard. Eight characters with divergent pasts, many haunted by their experiences in the recent American Civil War, get holed up together and soon tensions erupt with explosive results. And there you basically have the Western version of 12 Angry Men. As is usual for Tarantino, it's not a novel concept, but it's the way it's handled that makes it enjoyable and successful. And with such talent among the cast (and apparently Channing Tatum, too), it seems like little can go wrong in terms of quality. Same can't be said for these characters, most of them likely won't leave that cabin alive. Tarantino will put those guns to great use in making sure of that.
Meer Avengers in cast Captain America 3
Speaking of the Civil War, here's another conflict with the same name for you. Different time, different sides though. Should a masked man with a secret identity and an essentially dangerous set of superpowers take responsibility for his actions, or let the government do it for him? Iron Man says yay, Cap says nay. And thus the Marvel heroes are at each other's throats. Which heroes, you may ask? Well, from the looks of it, virtually all of them and then some. Basically all the Avengers from the previous film (that made it out alive at least) are returning, and a bunch of new names - like Ant-Man, Spider-Man and Black Panther - are thrown into the mix. You gotta have an ample batch of superheroes for a superhero war, after all. But why then, isn't this movie basically your Avengers 3? Isn't Cap A gonna get lost in his own film? There's two sides to the conflict and he's only representing one of them. I'm sure the powers-that-be take this into consideration and make the ideological questions at hand and the characters through which they are addressed the most, Cap and Iron Man, take centre stage. Which still means Iron Man is likely to assume a role at least as important as Cap's. Hey, that's what you get for not making an Iron Man 4. However, there's still a true bad guy to take out amidst all the superhero fisticuffs, and it's former Nazi Baron Zemo, one of the classic Cap villains. Surely that will tip the plot in Cap's favour, though not so much the stakes, if he has to fight both him and the government lackey Avengers. There's a reason Cap died at the end of the original Civil War storyline, you know...
Nieuwe posters Terminator Genisys
My first thought upon seeing these posters is they enlarged Emilia Clarke's breast size. That's gotta show how excited I am about seeing Ahnuld as the Terminator again. Sure, he made it into an iconic character back in the days, but in my mind Terminator Salvation showed you can have a decent Terminator flick without the Austrian Oak. Audience attendance for that movie disagreed with me. And now that Arnold's political career is over, he's back (yes, that line is impossible not to use in this context these days). The plot kinda helped him out in returning, crafting an alternate timeline to twist the old (and there's lots of that both in terms of characters and rehashed dialogue) into something new. Sarah Connor, Kyle Reese, T-800, T-1000, been there, done that. So now we get a T-3000 to provide the new action. I recognize an abandoned concept from Salvation in this character. A fiendishly sinister original ending shaped in a character, to be exact. Originally, Sam Worthington's character in the predecessor was gonna save the day and then unexpectedly kill off the good guys and take John Connor's place as resistance leader (basically with the intent to lead it to its doom). Too daring and dark, so they let it go for a more cheerful, positive resolution. Now the new model Terminator on the block assumes Connor's appearance, and possibly more than just that, as it's unclear from the trailers where its loyalties lie. Interesting to see this notion return in a different form. But thanks to the alternate timeline, basically every Terminator notion returns in a different form here. The oneliners stay the same though. We loved them then, why wouldn't we now, the studio likely assumes. Same thing as with Schwarzenegger.
Labels:
arnold schwarzenegger,
Avengers,
captain america: civil war,
casting,
civil war,
Marvel,
moviescene,
poster,
Quentin Tarantino,
terminator,
terminator genisys,
the hateful eight
zondag 7 september 2014
Today's Triple News: horrible witch terminators
More news posted at MovieScene this here few days:
http://www.moviescene.nl/p/157120/eerste_foto_vin_diesel_in_the_last_witch_hunter
As has been proven before on several occasions, Vin Diesel likes using social media to reach out to his fanbase (and movie news hungry editors like myself) about his current projects. It's good to see a Hollywood star keeping in touch with his followers himself rather than letting the Hollywood propaganda machine do that for him, though of course, we should not tell ourselves that anything Diesel posts isn't done with permission by the studios' promotional think tanks. This is the first we've seen of The Last Witch Hunter (not surprising, as it's still only half way through production). Doesn't show us much, but assures the Diesel fanatics their hero will play yet another gruff, masculine man of action, this time (partially) in a medieval setting. Whether the movie will be any good is hard to tell from just this single teaser image. The story doesn't seem all that inspired, combining ingredients from recent flicks like The Sorcerer's Apprentice (fantasy warfare in present day New York City) and Hansel & Gretel: Witch Hunters (witch hunters teaming up with good female witches to stop evil covens: plus the title of the film) without adding much novelty and seemingly swapping the element of humour for a more serious Gothic tone. The supporting cast seems decent enough, with the likes of Elijah Wood, Michael Caine and Rose Leslie. Especially the latter has her work cut out for her, as this is her first major Hollywood role. She had time for it apparently, now that her character didn't survive the last season of Game of Thrones.
http://www.moviescene.nl/p/157121/nieuwe_trailer_en_poster_horrible_bosses_2
I'm still not convinced of the need for a sequel to Horrible Bosses by watching this trailer. There isn't any really, other than the fact the predecessor made ample money to tell the studio a sequel might do the same. And so we basically get more of the same story, just with situations added and rearranged to some extent to let the audience know they're not looking at exactly the same picture. Again we have the trio of incompetent protagonists screwed over by their employer and plotting a revenge. This time it involves kidnapping rather than murder. Enter Chris Pine as the victim. And re-enter Jennifer Aniston and Kevin Spacey as two of the titular bosses from the original who are somehow woven into the new plot, even though their story lines seemed to have been over and done with at the climax of the first film. How ingenious the ways of Hollywood story telling, just to ensure enough characters return to repeat jokes and make the movie seem repetitive. At least we'll have one new boss, played by Christoph Waltz. There's something new for you, though not enough to make you feel the need to go to theaters to see this film. Seems more like the stuff of illegally downloading on a rainy Sunday afternoon.
http://www.moviescene.nl/p/157130/terminator_sequels_aangekondigd
Another example of a studio getting way ahead of itself by planning multiple sequels based on the hopes the first film, which is what this will be somewhat as it's clear by now we're dealing with a rebooted franchise, will do well with audiences. Reboot or not, it still stars Arnold Schwarzenegger, even though the guy seems way too old to do the stuff he used to do on the first trilogy by now. Rumour has it he will not be a killer cyborg this time though. But as always, it would make much more sense to work off guaranteed success rather than spending millions of dollars pre-producing two sequels that may get scrapped if the box office results of their predecessor disappoint. And isn't this exactly what happened on the last Terminator film, Salvation? That movie, too, was meant to take the franchise into new directions 9without the Austrian Oak, mostly) and spawn a new trilogy, but disappointing financial grossing put a stop to such plans beyond this single project. Down the drain went that second trilogy, leaving a poor standalone film in its wake. It wasn't a total financial failure, but scored last in the list of released Terminator films thus far. The studio (that is, a different one, as the previous owner went bankrupt) appears to feel adamant that by bringing Schwarzenegger back in a prominent role, whatever it may be, that critical element that guaranteed box office success (which it did, in the Eighties) will do so again. It didn't work on The Expendables 3 though, so they ought not get their hopes up too much. But apparently, they do. Hollywood will never learn it seems.
Labels:
action,
arnold schwarzenegger,
comedy,
horrible bosses,
horrible bosses 2,
moviescene,
science fiction,
sequel,
terminator,
terminator genisys,
the last witch hunter,
trailer,
vin diesel
zondag 10 augustus 2014
Today's Triple News: zombies, terminators and mockingjays
A short summary of recent news by my hand follows. As usual.
http://www.moviescene.nl/p/156816/pride_and_prejudice_and_zombies_leeft_weer
Glad to see this offbeat project in the land of the living (dead) once more. We could use more weird movies like these. The premise is overly simple: take a classic piece of literature and spice things up with a rather unusual element few people would commonly associate with it, and you got yourself a movie with an intriguing title that begs a visit in theaters to see what exactly must be made of this. Worked well enough with Abraham Lincoln: Vampire Hunter, by the same author, which proved a rollercoaster thrill ride of an action flick that actually connected the history with the horror in a fashion that made sense from a narrative viewpoint - i.e., vampires controlling the Southern slave trade to guarantee an unlimited amount of human blood while keeping the human economy rolling - but didn't pretend to be anything but utter fiction. Pride and Prejudice and Zombies seems determined to repeat that notion in very much the same way, perhaps carrying the risk of feeling repetitive. Nor does the title alliterate as delightfully as its own follow-up Sense and Sensibility and Sea Monsters. However, I say go for it, and so does the creative team behind it, including producer Natalie Portman, who wouldn't give up on it. So far the casting seems to be doing well, especially if they do manage to acquire Jack Huston for a part. With his particular character from Boardwalk Empire on his repertoire, a deteriorated undead look is right up his alley.
http://www.moviescene.nl/p/156838/schwarzenegger_onthult_titel_nieuwe_terminator
Strange title. I assume the deliberate misspelling refers to a plot point which has yet to be revealed, so I won't bitch and moan about that until I can either confirm or disprove that assumption for myself, even though I am a bit of a grammar nazi. It's not a title funky enough to get me geared up for this film though. The cast does a better job at that. I can't get over the irony that Sarah and John Connor are being played by Emilia and Jason Clarke respectively, while there is no direct relationship between them. I also appreciate the trick of fate that Emilia is now playing Sarah Connor, while her Game of Thrones co-star Lena Headey assumed that mantle before on the unfortunately short lived TV show Terminator: The Sarah Connor Chronicles. I'm quite pleased with this assembled cast overall, except for Schwarzenegger. Personally I felt Terminator Salvation was a breath of fresh air because it shied away from using him, making it feel different and less predictable than its predecessors, which started to feel repetitive. Same goes for the aforementioned TV show, which also established convincing Terminators can be played by a diverse range of actors of various shapes, sizes, races, ages and creeds. Schwarzenegger in my mind is the cliché the franchise would do well to avoid. However, considering the series' cancellation and Salvation's lackluster worldwide box office takes, public opinion might be against me in this matter. I guess most people just want to see the Austrian Oak kick ass in their Terminator films, despite the much wider story possibilities available.
http://www.moviescene.nl/p/156834/nieuwe_posters_the_hunger_games_mockingjay
Mockingjay's marketing strategy seems to follow Catching Fire's closely. The routine of a logo poster first, character posters second, is strictly sustained for this second sequel to The Hunger Games. No doubt a 'Katniss on fire in logo' poster will follow soon. This time, there's more than a trio of character posters though. So far, six different one-sheets have been unearthed in the viral marketing campaign, and more are likely to follow. I guess there's just much more characters, and much more fine actors portraying them, to go around this time. I reckon the studio wants to capitalize on the loss of Philip Seymour Hoffman by attributing a poster of his own to his character: dead actors mean public interest in their final movies after all, like it or not. Simultaneously, if you hooked a great and well respected actress for a part you want to convey that in your promotional campaign too, and so Julianne Moore also gets her own poster, which makes for the debut of her character in the public mind. Interestingly enough, so far all of these character posters seem to revolve around supporting characters, while the movie's main trio - the subject of Catching Fire's comparable character one-sheets - is nowhere in sight as of yet. Considering how much the teenage demographic loves - or how much the studio execs think it loves - the love triangle that is going on between Katniss, Peeta and Gale, I bet their place in the spotlight is simply reserved for later. So these character posters showcasing much of the fine supporting cast are basically a treat to people who love movies and good acting, while the franchise's fanbase with its various Team Gales and Team Peetas will no doubt soon get to drool over posters depicting their young heroes. By which I don't mean to imply Jennifer Lawrence can't act. I meant to imply Josh Hutcherson's and especially Liam Hemsworth's acting capabilities leave a lot to be desired. So now I might need to prepare myself from vicious attacks by Hunger Games fangirls. Thankfully I happen to know few of those read this blog of mine.
zaterdag 7 december 2013
Today's News: He'll be back, both on the movies and on TV
Posted this late last night on MS:
http://www.moviescene.nl/p/152233/terminator_komt_terug_op_tv
He'll be back. He keeps saying it far and beyond the point that it has become a oneliner cliché, but he keeps making good on his promise. Even more than we might like. I wish The Sarah Connor Chronicles would come back too, since it ended on quite a cliffhanger (which should be considered a crime against humanity!) and any series that stars both Summer Glau and Lena Headey (and killer cyborgs) is well worth watching. Unfortunately that's not gonna happen and we'll be treated to another Terminator TV-series as well as a new movie, which share the same narrative universe (unlike The Sarah Connor Chronicles and Terminator Salvation which both followed their own timelines). Ever since Marvel created such a successful multimedia empire where everything is connected to everything, even though you might forget it until the studio reminds you of that fact, all the other studios join in on the bandwagon to try their luck with a similar set-up. It comes as no surprise that the Terminator franchise follows this dominant pattern. Whether it will pay off remains to be seen. In fact, the same can be said for Marvel, since they have only debuted a single TV-show so far despite plans for many more, and it hasn't even run a full season yet so there hasn't been that much intertextuality other than the occasional cameo appearance and throwaway line referring to other characters and places from every conceivable corner of the Marvel Universe. The concept of forging interrelated TV and movies is largely new in the way it is done presently (i.e., letting a film franchise and a TV-series exist alongside one another simultaneously instead of one following the other) so even though Marvel seems to reap the benefits, it's really still too early to tell whether it actually works. But neither the Hollywood film industry nor the television networks are known for their patience.
And what could this seminal moment in the original 1984 Terminator movie from which this TV-series is intended to spring be? No specific hints have been dropped so it's all open to speculation. Personally I haven't got a clue. The sex scene maybe? Unlikely, as the new series isn't likely to be picked up by HBO. Maybe it's the scene where Kyle Reese gets killed, in which case he isn't this time around. You never know. Or maybe the Terminator succeeds in his mission and does manage to kill Sarah Connor, resulting in another alternate timeline. Doesn't sound so farfetched. Another thing: will Arnold Schwarzenegger be involved? He's said to join the cast of the new movie, but you'd think the TV medium is sort of "beneath" him (despite the changed social perceptions regarding quality television series). Either way, I hope he's not joining the fun. For some reason people can't separate the Austrian Oak from this franchise, even though The Sarah Connor Chronicles - and to a lesser extent, Terminator Salvation - revealed you can have compelling story telling in the Terminator universe (no matter which timeline) without the signature character that started it all. It's about time we were reminded of that fact again, since the Terminator franchise has so much more to offer than that guy going around chasing and killing people again. I'm okay with the Terminator being back, but let's stop dragging poor Arnold into this all the time.
zondag 16 juni 2013
Today's News: Schwarzenegger will be back... again. And again.
I had this to report on Schwarzenegger's busy upcoming schedule on MovieScene:
http://www.moviescene.nl/p/147930/schwarzenegger_terug_voor_expendables_3_en_terminator_5
Now I'm not afraid to say I like Schwarzenegger and his action movies. Some of them I consider to be among the finest action flicks in existence (first and foremost Terminator 2: Judgment Day). And judging from his performance in the recent Expendables 2 and The Last Stand, he can still pull off solid action scenes without making you stop and think 'this guy is too old to be doing this'. In fact, you don't have to think about it, since his scripts are doing that for you in many a moment of good-humoured, tongue-in-cheek hilarity. However, nobody can continue doing this forever without the risk of losing credibility. Especially a guy who was once one of the top-grossing action stars who now seems to do little else than recycle past glories. Schwarzenegger appears to be going that way, considering all the sequels he has in store for us. The Expendables 3 I'm least worried about, since that franchise is basically built around action movie veterans getting together to blow shit up in acknowledgment of a long career of doing just that, so Schwarzenegger fits in perfectly with the rest of them. He did it to great comedic effect in the second Expendables movie, after teasing us with a glorified cameo appearance in its predecessor. The Expendables 3 can merrily have him continue down that path of rampant death and destruction with the other warmongering musclemen that have done the same for many many years. After all, why bother spending old age sitting at home playing Scrabble when you can go out and engage in massive shootouts, maiming people and blowing up tanks and helicopters?
Terminator 5 is a more delicate matter in my mind. After all, the various powers-that-be (or in most cases, have been, considering the rights to the franchise have passed through many production companies' clutches up till this point) have carefully and increasingly moved away from Schwarzenegger's involvement in this cyborg-infested universe. Terminator Salvation briefly included a cameo of the Austrian Oak's digitalized head - the Governator himself only had to give his permission for the use of his facial features, instead of actually doing any physical stuff - but none of the other Terminators in that film had much to do with Schwarzenegger. Furthermore, the TV-series Terminator: The Sarah Connor Chronicles ignored Schwarzenegger entirely, and revealed that in the story of this world, anyone's face and body can be applied over a metal endoskeleton for Skynet's nefarious genocidal purposes. Sure, there were quite a few muscular dudes straight out of the gym who could be viewed as obvious stand-ins for that iconic but inaffordable (and unavailable) ultimate Terminator, but there were also quite a number of people who played similar cyborgs, and one of them - Summer Glau, naturally! - pulled off a totally un-Schwarzeneggerish killing machine with more complexity and emotional subtlety than we ever witnessed in any of the actual films, without losing anything when taking up arms and brutally shooting people up. Something Glau managed to do compellingly for 31 episodes (that show should have run longer, especially considering the major cliffhanger that now ends the show and leaves us in the dark). Plus, she looked better in her undies than Schwarzenegger did in his bare butt.
So basically, we started getting used to the idea of a Schwarzenegger-less Terminator universe, a world where Ahnuld is not actually needed to make for interesting 'man vs. machine' drama and visually appealing future battles. The Terminator franchise has proven to do just fine on its own without repeatedly reintroducing the daddy of all Terminators, and thus having the original Terminator return might hurt that notion. I for one have little interest in seeing more of Arnold in T5, since T3 already felt like an uninspired rehash of T2, were it not for its surprisingly dark ending. If Terminator 5 follows Terminator Salvation, which seems likely - though we should never take this for granted, considering the constant messing with the timeline that, for one thing, allowed TSCC to follow T2 while retconning T3 and TS completely - it would be the first time we saw Schwarzenegger's T-800 in a future setting (not counting the T2 3D theme park ride). What to do with that notion? Either he's a real Skynet controlled Terminator and he's out to kill people (like in T1), or he's a reprogrammed Terminator and fights for the human resistance, as was the case in T2 and T3. He might be a bit of a 'grey zone' killing machine, like Marcus (Sam Worthington) in TS, a cyborg whose loyalty is undecided, but that too has already been done in both TS and TSCC. Plot wise I can't think of much scenarios that would help reinvigorate the franchise with Schwarzenegger's presence, but then I'm no producer or screen writer, so what do I know?
And then of course Schwarzie is slated to do the very late sequel to Twins (1988!), called Triplets: a project I'm sure few people really are actively interested in watching after having to wait no less than twenty-six years for it! And to top it all off, he's scheduled to do another Conan the Barbarian flick (which should have been done in the Eighties as was promised, but sadly that proposed third installment called Conan the Conqueror got scrapped and we got that shitty Red Sonja movie instead). This despite that fact Conan has already been rebooted only a few years ago, starring
zondag 7 april 2013
Today's mini-reviews
Though
my posting of news and reviews originally meant for MovieScene
continues to advance my blog in terms of content, the posting of
mini-reviews of recently seen movies is still somewhat lagging
behind. I hope to catch up on it soon, so here's another batch of
short critiques to fill that gap. There isn't that much more of these
to come at the moment, but since I still watch new films every week,
that might change if I don't get them all up faster. So no time to
lose!
De
Wederopstanding van een Klootzak: ****/*****, or 7/10
Probably
one of the most originally titled Dutch films (official English
title: The Resurrection of a Bastard), this cinematic
adaptation of the graphic novel of the same name by original author
Guido van Driel is both a visual feast and a character study of a
small time crime boss (Yorick van Wageningen in one of his best roles
yet) whose life is changed after a failed assassination attempt. Van
Wageningen does an excellent job at playing both sides of Ronnie B.,
but the vile, 'bastard' side sticks with you the most. As violent and
despicable as Ronnie used to be before – aspects of his character
of which we get to see our fair share in flashbacks; we'll never
forget the disturbing connection between eye balls and vacuum
cleaners... – afterwards he's a peaceful, caring man, and has even
seemed to be given the ability to see danger coming when he saves
someone else's life. Tracking down his would-be killer (either for
forgiveness or retribution, the movie doesn't provide a clear answer
on that) to Dokkum, his destiny soon becomes intertwined with the
locals, including an elderly couple who was once wronged by him and
an African immigrant who means to make something of his life against
all odds. As befits a graphic novel adaptation, Van Driel does not
ignore the visual aspect, resulting in surprisingly impressive vistas
of Friesland and Dokkum, as well as poetic shots of semi-sacred trees
that play an integral part in the plot and the history of the town.
Another good Dutch movie in the same year as De Ontmaagding van
Eva van End, who would have guessed there is still so much talent
in the Dutch film industry?
Another
one of Steven Spielberg's historical dramas regarding American
history, this time centered around the person of Abraham Lincoln at
the time of the last year of the American Civil War, as he attempts
to have the Thirteenth Amendment, which would mean the abolition of
slavery, passed. Focusing less on the war and more on the
battleground that is politics, Lincoln is not at all portrayed in the
same saint like quality we have come to expect from Hollywood, but
more as an insidiously pragmatic politician who's not afraid to
engage in less cleaner tactics to achieve his goals. Wheeling and
dealing his way through the House of Representatives to secure enough
votes to make this historic change to the Consitution possible, the
audience has to stay sharp to follow all the political intrigue and
squabbling, which tends to dominate the picture a little too much at
times. Though not the centrepiece of the film, the tragedy of the
Civil War is not neglected, as we witness various dramatic scenes of
carnage and human suffering on both sides. The problem Lincoln faces
is whether to end this onslaught on his terms, freeing all the slaves
simultaneously, or accepting the Confederate terms instead which
would not reach that goal but would make for an easier restoration of
the country. Going to enormous lengths to hide the Confederate offer,
Lincoln and his closest advisors have to race against the clock to
get the Amendment passed and persuade (or in some cases downright
bribe) enough political adversaries to join their cause. At the same
time, Abe has to contend with problems at home, as his son (Joseph
Gordon-Levitt) rebels against him in an attempt to join the army,
much to his mother's (Sally Field) dismay. An excellent cast through
and through: even the less noteworthy parts seem to be occupied by
notable character actors only, but of course Daniel Day-Lewis utterly
dominates the film in his all too human portrayal of the ill-fated
American president. It got him another Oscar, well deserved as
always, but not much of a surprise to anyone. Of the total of twelve
Academy Award nominations, the film only took home one more statue
for Best Production design: also very much earned, considering the
fabulous, but raw and gritty, look of 1865 Washington and its
political arena.
Last
Stand, The: ***/*****, or 7/10
After
playing small parts in The Expendables (2010) and its sequel,
The Last Stand finally marks the definitive return of the
Austrian Oak in a starring role – his first since 2003's Terminator
3: Rise of the Machines – to the genre he helped define in
prior decades. Sherrif Owens leads a quiet life in the small backward
town of Sommerton Junction near the Mexican border, where not much
ever happens except for the mayor parking his car in all the wrong
places. Unfortunately for both the sherrif and his town, this
peaceful situation is about to change drastically when a ruthless
drug lord (delightfully wicked Eduardo Noriega) escapes police
custody after a carefully planned and elaborately staged bust-out,
racing to the Mexican border with a hostage with only Owens and his
small staff of inexperienced deputies (some only present for poorly
executed comic relief unfortunately) standing is his path. As we have
come to expect from Schwarzenegger in whatever role, he doesn't take
this kind of shit from anyone and prepares a warm welcome for the
gangster boss and his band of merciless minions, who are armed to the
teeth in an outrageous fashion and led by the maniacal Peter
Stormare. He has little choice, considering the bumbling FBI agents
(led by Forest Whitaker) are ever one step behind in catching up with
the crook, so Arnie might as well do things all by himself once more.
Korean director Jee-woon Kim shows he has an absolute blast with this
typical plot, featuring various high speed chases and completely
over-the-top action scenes, while also respecting Ahnuld's position
in the genre and acknowledging his age in tongue-in-cheek dialogue.
This movie is at no point meant to be taken too seriously, and people
who don't can expect a fun, adrenaline rushed action flick with lots
of big guns, fast cars and a few sexy dames thrown in. Schwarzenegger
may be old but he's still got it where it counts.
maandag 27 augustus 2012
Shooting people up, Advanced Class
The Expendables 2: ***/*****, or 7/10
Tony
Scott may have jumped off a bridge, thus leaving the movie industry
with one less capable action director, but fortunately there's still
some of those left. Simon West for example. Though generally not as
well known, nor as experienced in shooting pure action judged from
the number of action films in his repertoire, with movies like Con
Air (1997), Lara Croft: Tomb Raider (2001) and the recent
Jason Statham flick The Mechanic (2011), it's far from
unreasonable to state the guy has some knowledge of things that go
boom. So when Sylvester Stallone decided to stick to writing and
acting while letting go of the director's chair that seemed to fit
him well enough for his ultimate action movie The Expendables
two years ago, hiring West for the job wasn't the most illogical
decision. However, judging from the final product, Stallone would
have done well to encourage West to get more innovative, considering
The Expendables 2 improves little upon its predecessor: a
solid action movie is West's contribution to the franchise, but
considering the sheer number of renowned action stars participating
in Stallone's second ode to the action genre as a whole, the sequel's
approach to things feels like a routine is being established instead
of new routes being taken. That routine apparently revolves around
action stars getting together and shooting people up.
The
movie's main focus seems to be the expansion of bit parts of
characters from the first film played by screen icons Arnold
Schwarzenegger and Bruce Wilis, plus the introduction of several new
characters played by muscle movie veterans Jean-Claude Van Damme and
Chuck Norris to the already impressive line-up of (near) legendary
action stars from the first film, to further support Stallone's
hypothesis that old dogs can still pull off worthwhile tricks that
manage to draw huge audience numbers. His point was well proven by
the success of The Expendables, making The Expendables 2
feel more like an obligatory Hollywood cash-in than a sincere attempt
to outdo what was done before for the audience's entertainment.
Nevertheless, The Expendables 2 at least succeeds in
delivering ample amounts of gun fights and screen violence paired to
often successfully timed moments of humor and referencing the action
classics the movie means to pay homage to, which is what most
spectators will expect, and what they will get.
The
movie starts in medias res, as we follow Stallone's pack of
mercenaries – and it's really Stallone's, since few people will
ever remember the names of the characters after leaving their
theaters, considering they are played by so many larger-than-life
people – on a job rescuing a wealthy Chinese entrepreneur from the
clutches of nameless Nepalese thugs, in a spectacular raid on their
heavily fortified facility involving heavy machinery and man sized
artillery, opening the film with a huge bang as our heroes shoot down
and blow up endless rows of antagonists in an expected and desired
orgy of gun violence, followed by an adrenaline rushed jungle river
chase (which saw one stunt man dead and another one crippled) ending
in a decently sized explosion to round things up. If you were
wondering, the movie is rated R where the previous installment was
only PG-13, thus allowing the director more freedom to insert
appropriate levels of gore and blood into the film, all for the
better. At this point the film has only run for about 15 of its 103
minutes, so it takes a moment to re-establish the characters,
introduce some new ones and specify their upcoming mission, plus
giving the viewers a much needed moment to catch their breath.
Centerpiece
of the first half of The Expendables 2 is rookie team member
Billy the Kid (played by Liam Hemsworth: despite his role in The
Hunger Games, this is really his first action film, making him
feel as much out of place in this movie judging from his experience
as an actor as his character feels out of place on the team for his
young age), protegée to team leader Barney Ross (Stallone, mumbling
his lines as unintelligibly as usual), who despite his excellent
sniper abilities decides this is not the life for him and tells his
mentor he means to retire soon. However, when the band of extremely
broad shouldered brothers find themselves with a new assignment,
courtesy of shady CIA operative Church (Wilis), who they owe some
money after the events of the first film, to retrieve a brief case
from a downed plane in Albania, Billy's loyalty compels him to join
them. They are also accompanied by Maggie, an expert on Church's
payroll: Chinese actress Yu Nan gets the seemingly thankless job of
representing girl power amidst the humongous amounts of testosterone
going around, but manages to keep up surprisingly well, giving the
occasional witty rebuttal when confronted with near sexist remarks
from her new team members. The brief case is easily found, but soon
lost to the villain of the piece, a bad guy simply named 'Jean
Vilain', played enthusiastically by Jean-Claude Van Damme despite his
character's feeble screen name: fully in tone with Stallone's
straightforward way of thinking, why bother with intricate
designations when you can call a spade a spade? Vilain makes it clear
he's not to be messed with and lives up to his name when he takes the
team's prize and leaves Billy dead, thus setting the stage for the
veterans' quest for vengeance.
Revenge
alone is too ignoble an objective for such a notable group of
exemplary action stars, so the plot raises the stakes by revealing
the brief case contained the exact location of a former Soviet depot
in Bulgaria that houses five tons of plutonium Vilain intends to sell
despite its threat to the world's balance of power. To make him even
more of a ruthless bastard, he utilizes slave labor to dig out the
plutonium, so the Expendables' mission is to free the slaves, secure
the goods and avenge their comrade. In truth it matters little what
the exact mission is, so long as the stage is set for a large string
of overly loud gun fights, some neat display of martial arts and
general fisticuffs and a decent amount of one-liners mixed in, most of
them acknowledging the actors' former entries into the action genre
(with the most obvious and funniest remarks referring to the Die
Hard and Terminator franchises). In a moderately epic,
drawn out conflict staged at an air port the team of good guys, now
joined by Wilis, Norris and Schwarzenegger, square off against the
legion of bad guys, culminating in a vicious mano-a-mano
confrontation between Stallone and Van Damme, kicking each other's
teeth in like two Roman gladiators. Needless to say who wins the day,
since The Expendables 3 has already been widely announced.
In the
middle of all the action, the main attractions of The Expendables
2 regrettably also turn out to be its main flaws. Since the
success of the first movie was based mostly around the large number
of famous action stars getting together for a
mother-of-all-action-films flick, The Expendables 2 clearly
needed to outdo its predecessor by gathering some more noted
heavyweights to join the fun. The full line-up of action stars of the
film now consists of Stallone, Van Damme, Wilis, Schwarzenegger,
Norris, Dolph Lundgren, Jet Li, Jason Statham, Randy Couture and
Terry Crews and with so many vets gracing the screen, it'll come as
no surprise not everybody gets an equal chance to shine. Li, an
established team member in the first film, exits the movie
immediately after the opening mission has been completed, not to be
seen or even mentioned again, while Couture, Crews and Norris are
left with little to do during the whole piece, and Lundgren largely
has been reduced to comic relief (which thankfully he pulls off
well). It makes you wonder why the movie needed an action virgin like
Hemsworth at all, considering his role could have gone to one of the
older and more accomplished actors, thus offering a chance to make
the narrative feel more poignant upon the moment of his death. The
same can be said for Yu Nan's role (though it's laudable West and
Stallone provided the opportunity for her big break on the
international market), which could also have gone to one of the other
actors in favor of balancing the existing amount of characters
properly instead of relegating them to the side line in favor of even
more characters joining the stage. Wilis and Schwarzenegger are no
longer restricted to playing mere cameos as they were before but are
finally offered the chance to get their hands dirty: they do so
vigorously, but their status as (former?) A-list superstars is mostly
applied to referencing their most memorable movies more often than
feels appropriate, at times making their presence feel forced despite
generating a few more laughs. At least Van Damme gets the opportunity
to explore Vilain's savage villainy in much more detail, making his
climactic final fight with Stallone work on the intended levels. As
was the case with the predecessor, at the heart of The Expendables
2 still lies the camaraderie between Stallone and Statham, with the
pair of them exchanging both witticisms and drama, acknowledging the
fact the torch has successfully been passed from Stallone's age of
action stars to Statham's more recent generation, with relentless
love and understanding for the genre and its conventions clearly driving
the both of them. The more things change, the more they stay the same
after all, and both sides of the coin are amply represented in West's
The Expendables 2 as much as they were in Stallone's own The
Expendables.
The
Expendables 2 is a double confirmation of the age gold adage that
more of a good thing isn't necessarily better. First, it's good to
see more familiar faces from past glory again, but if the talent we
all know to be underlying said faces remains underused, little has
been accomplished. The movie is running for an entertaining 103
minutes, but could have benefited from another 15 or 20 minutes
fleshing out the likes of Norris, Couture, Crews, Li and Lundgren
some more, especially considering that, second, like the first
Expendables film, the movie still feels lacking something in
the action department, even though that sounds incredible. Fact is,
the first 15 minutes of the film basically say it all, showcasing the
Expendables' efficiency as a team to great effect – with each team
member getting the opportunity to display his fighting skills more or
less equally – in an ever expanding rollercoaster ride of an action
sequence, with a big explosion to tie it all up. The rest of the
movie simply can't live up to this opening, despite throwing in more
stars, more gags and more action, and even more plot (which makes you
consider just how much, or how little, of that is needed in a film
like this). Though it still entertains tremendously, the audience
keeps waiting for a staggeringly huge motherfucking explosion that
never comes.
Director
West can't be blamed for his film's shortcomings, which simply lie in
the movie's changing intentions as it finds itself transformed into a
franchise trilogy – which it didn't start out to be – changing
from paying homage to past glory, to a series of films revolving
around ever greater numbers of action stars joining each other in
referencing eachother's oeuvre as they dispatch large scores of bad
guys. With The Expendables 3 already in the pipe line,
Stallone would do well to take a closer look at the direction the
franchise has taken and the effect this has had on both the
audience's expectations and the overall coherence of the films
proper, before signing on more colleagues the likes of Nicolas Cage
and Steven Seagal to further relive the good ol' days. After all, the
audience is not expendable, and it's still craving that giant
stupendously big-ass explosion...
And
watch the trailer here:
maandag 7 mei 2012
Conan the Destroyer
Rating:
***/*****, or 5/10
Mildly
entertaining but ultimately underwhelming successor to the superior
Conan the Barbarian (1982). The strong but silent warrior
returns to the big screen as he is tasked by a ruthless queen to
escort her young and beautiful niece to a faraway magic castle to
find a jewel that can awaken the sleeping god, Dagoth, she worships. Together
with a ragtag band of fellow warriors, Conan fights marauders,
sorcery and demons along the way, while the princess falls in love
with him. Little do both know she is destined to be a human sacrifice
to the monstrous god, and there are those in the warriors' ranks who
must ensure the girl will fulfill that destiny, even if it means
killing Conan in the process. Though there's more intrigue in the
story compared to its predecessor, it often gets in the way of the
plan simple action people will expect from this film, while a PG
rating, ill suited to the material (Barbarian was rated R
after all), further restricts the fighting to such an extent it never
gets beyond childish and mediocre. The
effects are also not on par with the first film, though they still
make for a decent dreamy level of quality that contributes to the
overall sense of fantasy. Noted science fiction and fantasy director
Richard Fleischer (20000 Leagues Under the Sea (1954),
Fantastic Voyage (1966), Soylent Green (1973)) has been
known to produce better fare than this, though it remains an
interesting entry in his oeuvre. A third movie, which could have
undone the flaws of this film, unfortunately never got beyond the
planning stages of production. In order to still get his dose of
fantasy acting, Schwarzenegger opted for a supporting role in the
suspiciously similar Red Sonja the following year, ironically
enough also directed by Fleischer.
Starring:
Arnold Schwarzenegger, Grace Jones, Wilt Chamberlain
Directed
by Richard Fleischer
USA: Dino
De Laurentiis Company, 1984
Conan the Barbarian (1982)
Rating:
****/*****, or 7/10
Classic
'Sword & Sorcery' type of film, a landmark fantasy movie of the
Eighties and the definitive cinematic breakthrough of the iconic
Arnold Schwarzenegger. Based on the works of Robert E. Howard and set in an unspecified chapter of mankind's
prehistory, Conan witnesses his tribe being massacred as a child by
the forces of the evil sorcerer Thulsa Doom (fabulous role for James
Earl Jones), after which the boy is doomed to slavery. Surviving his
ordeal of slave labor, the adult Conan rises all the stronger as a
gladiator and fights for his freedom, after which he sets out on a
bloody quest for vengeance. Trying his hand at theft at first, Conan
meets the beautiful female thief Valeria (Sandahl Bergman) with whom
he soon falls in love after which the pair is asked by a king to
reclaim his stolen daughter from the vile clutches of a Snake Cult
ruled by Doom. With a minimum of dialogue (no more than is absolutely
necessary for the character), Milius has the rogue warrior
mercilessly fight his way through hordes of monsters and minions
under the command of the villainous practitioner of the dark arts,
often with a very amusing cynical lack of subtlety, a form of acting
Schwarzenegger is shown to excel at (and would often do so again in
similar roles in his action packed repertoire). Though the effects
have aged quite a bit, they still add a wonderful otherworldly
quality to the piece, often emulated but rarely surpassed. A fabulous
epic score by Basil Poledouris completes the fun. Followed by the
inferior Conan the Destroyer two years later. The intriguing
opening narration of this film mentions Conan's ascent to the level
of king: though this was intended to be featured in a third film,
often claimed to be titled Conan the Conqueror, it sadly never
materialized.
Starring:
Arnold Schwarzenegger, Sandahl Bergman, James Earl Jones
Directed
by John Milius
USA: Dino
De Laurentiis Company, 1982
Labels:
action,
arnold schwarzenegger,
barbarian,
basil pouledoris,
Conan,
conan the barbarian,
epic,
fantasy,
james earl jones,
john milius,
robert e. howard,
sandahl bergman,
sword and sorcery,
thulsa doom
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