If you grew up on a steady diet of action movies if your bones hardened every time a muscle-bound guy dove away from an explosion in slow motion if you hit puberty the first time you saw the hero of the hour bed his scantily clad damsel in distress then it’s impossible to resist the allure of a movie like The Expendables. It’s the superband version of an action movie. It was created by an action star its cast consists almost exclusively of action stars and the only reason it exists is to put a smile on the face of action fans. And invariably it will do just that.
The question is how wide one’s smile will be. The answer depends on how forgiving one is willing to be of The Expendables' faults and there are many. It’s a little slow-going at first the characters are very thinly defined some of the acting is spotty and on the production front Sylvester Stallone’s knack for action scenes is thrown under the bus by a ton of visual shortcuts (CGI blood being perhaps the most egregious) that belie the film’s obvious low budget. That said Stallone’s knack for gory ultraviolent action is indeed so strong his mind so tuned to the quirks and cliches that make action movies beloved despite their faults that The Expendables kicks more than enough ass by the time credits roll to be worthwhile beyond just the novelty of seeing Stallone Statham Li Lundgren Austin Rourke Couture Crews Willis and Schwarzenegger all under one explosion-filled roof.
That was actually my biggest concern at the offset of the film that the only ace up star/co-writer/director Stallone’s ripped sleeve was his cast but the best thing about The Expendables is that it could have worked with a roster composed entirely of no-name actors. It’s fantastic to see some of these action movie titans go head to head (particularly so in the case of Lundgren) but the headliners surprisingly neither make nor break the movie. The script which involves a gang of mercenaries overthrowing a South American dictator who has become a puppet of a rogue CIA agent isn’t particularly strong but no one goes to an action movie expecting it to be a David Mamet-scripted battle of wits. The story just needs a firm enough framework to allow for enough scenarios for our heroes to punch kick stab shoot and explode an army of bad guys. To that end Expendables could have been given to a cast and crew of newcomers and still stomped in tons of face.
What actually hurts the film the most is that it is filled with veterans and promises of a return to old-school action an era where the only thing bigger than the heroes’ muscles was the body count left in his wake. The only thing wrong with the body count in The Expendables is that it takes too long to begin piling up whereas the rest of the movie feels too small too amateur hour considering its cast of pros. Nu Image the chief studio financing Stallone’s grand endeavor is known primarily for making low-budget straight-to-video movies; sadly The Expendables isn’t going to shake that image any time soon.
There is a disappointing amount of poorly-rendered CGI blood and flames throughout the film which completely goes against the “do it old-school” mindset one expects from all involved. It’s hardly unwatchable but there are times where the look of the film brings to mind the Syfy channel and as any brave soul who has ever wandered into a Syfy Original Movie knows all too well that is rarely ever a good thing.
However even with lackluster production values The Expendables still manages to be a wild throat-slashing elbow-dropping grenade-throwing trigger-pulling and limb-dismembering good time. The last forty-five minutes alone are packed with more carnage than most action movies today can dream of delivering throughout their entire run time. The slow beginning gives way to a glorious orgy of death that generates a body count that would warrant UN intervention were it to have occurred in the real world. And since fictional armies getting absolutely obliterated by a fictional team of the manliest men on the planet is all anyone really requires from The Expendables it’s easy to turn your back on the few obstacles that stand in the way of that holy goal.
June is going home for her sister’s wedding toting a mess of car parts from a junkyard in Wichita apparently the best place in the country for scrap parts. At the airport she twice bumps into a mysterious fellow with dynamite bangs. Just when she feels she might be falling for him she returns from the airplane lavatory to find he has killed everyone onboard. What follows is 110 minutes of your life siphoned painfully from you that you can never reclaim.
Knight and Day is the pinnacle of studio laziness: two pretty people forcefully crammed into an empty vessel in the hopes that their celebrity will dupe more than a few rubes into buying a ticket. This movie is lifeless; it has no pulse from beginning to end. I’m not naive. I know why movies like this exist and I know that I am not the target audience. But what really burns me about Knight and Day is that it fails to deliver on the one note on which movies like this typically bank: cheap romance.
The principal design of a film like this is to provide masturbatory fantasies for people who read gossip magazines. When you are making a film in that vein the only requirement of you is to create chemistry and steaminess between your two leads. Knight and Day managed to fashion a film like that without spending a lick of effort to create sexual tension between the characters. At no point in the film did I feel like they had a relationship -- or that they were even interested in one another -- until I was explicitly told that it was true.
Most of the absence of heat between them is a product of two veteran movie stars who obviously could not care less about the film they are making. If you are a fan of either Tom Cruise or Cameron Diaz I would highly suggest taking a trip to Madame Tussauds and staring at their wax likenesses because they will offer more skilled performances cast in wax than they did on screen. If Cruise’s performance were any more phoned in AT&T would’ve sponsored the film. To counterbalance that Diaz is a complete doorknob. Her “fish out of water” routine more often than not devolves into completely inauthentic stupidity and emotionless non-reactions. And I’m sorry Tom but even you have to exert yourself just an iota to be charming.
The plot of the film isn’t just generic it’s insultingly stupid. Take the actors out of the film -- hell take away the fact that the film exists -- if you were to recount the plot points of Knight and Day to someone as if it were a story that person would think you a moron. MacGuffins about batteries characters identified by their naiveté suddenly becoming fully cognizant of complicated schemes and being pretty serving as the only criterion for graduating to superspy all expected to be swallowed as fact.
At least it’s an action film so there are moments of sheer entertainment right? Wrong! The action scenes are as bland and unsatisfying as the rest of the script and offer little more than sweet retreat from the idiocy of the plot and the inadequacy of its cast. Please do not waste your time money or brain cells on this unmitigated garbage. If we collectively say no to movies like this perhaps the next summer vehicle for pretty people will have the good decency to be mediocre.