It's rare that a sequel trumps the original but The Expendables 2 manages to do just that with a steady stream of one-liners and welcome weathered faces as well as a few new ingredients. E2 seems even more self-aware of its own silliness especially with Jean-Claude Van Damme as the villain (named Vilain of course) and Chuck Norris and Arnold Schwarzenegger popping up in smaller roles alongside previous Expendables Sylvester Stallone Jason Statham Jet Li Dolph Lundgren Bruce Willis Terry Crews and Randy Couture.
Then again The Expendables wasn't any sort of action classic; it was like writer/director/star Stallone threw a whole bunch of ideas at the wall to see which would stick then added massive amounts of weapons and the occasional hand-to-hand combat. It was popular but it definitely not the kind of awesome actioner that the stars were able to make 10 or 20 years ago. There's the rub actually; like women actors who have written or directed their own projects because nothing else was available or satisfactory Stallone created The Expendables because Hollywood didn't seem to know what to do with him and his fellow action stars as they got older. It's easy to criticize Stallone et al for not doing the same amount of stunt work or hand-to-hand fighting that for example Statham is capable of but the whole thrust of the movie is that they're expendable -- to themselves to the world and until Stallone kickstarted these movies to Hollywood.
E2 is still clumsy but it's a little more adventurous and a little more introspective. Two new additions to the crew seem to throw everyone for a loop in one way or another. Liam Hemsworth shows up as Bill the Kid a sniper who left the military after a raid in Afghanistan went horribly wrong; his age and hopefulness not to mention physical prowess is a foil the Sylvester Stallone's Barney Ross and one that Barney is well aware of. Nan Yu joins the team as Maggie who is apparently the only person who can disarm the safe that holds whatever secret thing Church (Willis) has sent them to retrieve. And if the Expendables don't get her back alive Church will make them pay because even though Maggie is some sort of multilingual computer genius with a vicious roundhouse she's a lady. On one hand perhaps we're supposed to gather that this group of old dogs is learning new tricks by having to deal with a smart capable woman in their midst; the attempts Gunner (Lundgren) makes to flirt with her are clunky and goofy and she's obviously way too smart for fall for that claptrap. On the other when she whips out some instruments of torture Barney cracks "What are you going to do give them a pedicure?" And of course her role also devolves into an incredibly stilted and unbelievable romantic interest for Barney. One point for trying but two points deducted for falling into the romantic interest trap.
At times it's hard to tell whether or not we're laughing with the crew or at them. Plus because of how jam-packed the cast is some actors get the short end of the stick. Statham is the most charismatic of the bunch and he also has the most impressive hand-to-hand fight scenes but the emphasis in E2 is sheer firepower so he doesn't get nearly enough screen time. Couture is fairly forgettable while Lundgren plays the lunkiest of lunkheads; the running joke is that he has a chemical engineering degree from MIT and was a Fulbright Scholar which is supposed to be funny... except it's also true. (We're to assume he's mended his evil ways between the first Expendables and the second.) Is Lundgren agreeably poking fun at himself the same way Schwarzenegger hams it up at every turn? Or does E2 have shades of JCVD which stars Van Damme was a washed-up action star? Are the emotional moments supposed to fall so hilariously flat on purpose? For some reason it seems important to tease out which parts of these movies are earnest and which are tongue-in-cheek.
There's a weird melancholy about watching this group of aging action stars that has the same tang as watching someone you love grow older especially as they try so very hard to fight the ravages of time. If you dig a little deeper maybe deeper than E2 warrants you could find a well of sadness below the back-slapping antics. The world has changed and even though Stallone and his crew have muscles so hard and juicy they could pop out of their skin like grapes they can't compete with Bill the Kid and Maggie and others like them. They know it and we know it and while it's good fun to see old friends or onscreen enemies kill scores of bad guys (led by JCVD sporting a truly horrible fake Baphomet-style neck tattoo) there are better smarter more exciting and more interesting action films on the horizon.
And there's also The Expendables 3.
Based on E.B. White’s enduring children’s story we meet Wilbur the Pig (Dominic Scott Kay) a runt who is saved from the axe by a little farm girl named Fern (Dakota Fanning). She raises Wilbur from infancy but eventually she has to send Wilbur over to her uncle’s neighboring farm since there’s no room for a pig in her house. There in the barn Wilbur meets the assortment of colorful animal characters: Betsy (Reba McEntire) and Bitsy (Kathy Bates) two pessimistic cows; motherly goose Gussy (Oprah Winfrey) and her henpecked hubby Golly (Cedric the Entertainer); Samuel (John Cleese) an uptight sheep; the skittish horse Ike (Robert Redford); the self-serving rat Templeton (Steve Buscemi); and of course sweet Charlotte (Julia Roberts) a spider with a heart of gold. When the naïve Wilbur finds out he might be Christmas dinner Charlotte makes a promise to her new friend that she’ll do everything in her power to make sure Wilbur sees the Christmas snow—and everyone ends up helping her out. What could be more fun than to voice a barnyard animal? Winfrey and Cedric’s geese banter is like an old married couple. Cleese gives Samuel the sheep a certain upper-crustiness. Redford is actually pretty funny as a horse who’s deathly afraid of spiders (“I’ll listen to you but I just can’t look at you”). Buscemi is a particularly nice choice as the sneaky rat Templeton who only thinks about filling his belly with food (no typecasting there we swear). For pure comic relief there are also two crows voiced by Andre Benjamin and Thomas Haden Church who just can’t quite get around the whole scarecrow thing. And as Charlotte Roberts has a truly soothing and loving tone sort of how you’d imagine it from the book. As for the human aspect Fanning continues to do what she does best playing Fern with the right amount of youthful innocence spunkiness and determination. Just wondering how we are going to handle it when this amazing little actress grows up and starts doing like adult things. Actually it is sort of a shame they couldn’t get a live-action version of Charlotte's Web made before Babe. Sure there was the 1973 animated cutesy film but a live-action adaptation of this timeless tale really should have been the standard by which all computer-generated talking farm animal movies would follow don’t you think? Instead Charlotte's Web pales ever so slightly in comparison. Oh well water under the bridge. Director Gary Winick (13 Going on 30) still manages to invoke the wonderful and uplifting spirit of the novel keeping faithful to the text in all ways. Visually the film is crisp and flawless in its execution particularly in the beauty and splendor of how Charlotte spins her webs and emotionally hearts will indeed swell and tears will flow. Charlotte's Web is the perfect family movie to inspire the next generation of young readers and viewers as well as for the rest of us who fondly remember the childhood classic.
When retired U.S. Special Forces Soldier Chris Vaughn (Johnson) returns to Kipsat County Wash. it's only to find his hometown overrun with crime drugs and violence. The old mill where Chris's father (John Beasley) worked for most of his life is closed and the town's only thriving industry is the Wild Cherry casino. Even Chris' high school sweetie Deni (Ashley Scott) couldn't resist the Wild Cherry's lure; she's become a peepshow dancer to "pay the bills." But Chris really loses it when he discovers the casino's dealers are using loaded dice--and he starts a brawl that ends with the security team carving up his chest and abdomen with a rusty Exacto knife. Chris also learns that that his old high school rival the casino's owner Jay Hamilton (Neal McDonough) has transformed the mill into a crystal meth lab and is using the casino's menacing security staff to sell the drugs to innocent kids. Chris strikes back by running for sheriff firing the entire police department on his first day and with the help of a cedar two-by-four and his deputy and buddy Ray Templeton (Johnny Knoxville) restores peace to the Pacific Northwest.
Johnson looking buffer than ever is well cast in the role of Chris: He's a fearless and determined soldier with beyond-human fighting skills. But while the film takes advantage of Johnson's brawn it fails to take advantage of his brain. In last year's comedy The Rundown Johnson proved he was more than a muscle-bound action star; he oozed charm and was surprisingly witty. With Walking Tall he never gets a chance to flex his acting muscles; if anything they atrophy. The only skills Johnson gets to show off are his ability to swing a plank at someone's shins and his unique way of bashing skulls against slot machines. Johnson's sidekick Ray played by Knoxville of MTV's Jackass fame is an ex-junkie who after spending a couple of years in the slammer is content with living in a camper and doing odd jobs around town. With his scraggly appearance and klutzy demeanor Knoxville supplies the film with brief interludes of humor amid the slam fest including a scene in which he stabs a bad guy with a potato peeler. Johnson and Knoxville would have made a first-rate action team had they had more screen time together.
A WWE production with Vince McMahon serving as executive producer Walking Tall has none of the subtlety of director Kevin Bray's last film All About the Benjamins and all the elements of a wrestling match. As with wrestling the film begins by melodramatically establishing the story (Chris and his family's lives are devastated by the mill's closure) and just like rival pugilists who publicly taunt the favored wrestler Chris challenges Jay--not for the world title but at least for control of Kipsat County--in a never-ending battle between good and evil that mimics wrestling to a T. But what's entertaining in the ring doesn't translate to film especially when the good guy running the town is a maniacal meathead. Chris is supposed to be the protagonist who single-handedly saves the town but who's responding to the citizens' domestic violence calls for example when the sheriff fires the entire precinct and spends 24 hours a day casing the casino? Never mind the fact that he has sex with his girlfriend in his office while he's on the clock.
Supermom Claire (Michelle Pfeiffer) and her geneticist husband Norman (Harrison Ford) are adapting to their only daughter's departure to college when Claire begins sensing an unearthly presence in the couple's lakeside Vermont dream home. Is she losing her marbles or is that the spirit of a beautiful young woman she keeps glimpsing? To say any more (as the too-explicit ad campaign does) would spoil some delicious twists.
The toplining Ford is his usual solid self in a role that plays cleverly on his familiar persona but the picture is Pfeiffer's from beginning to end. She delivers one of her most pleasing performances nicely disarming audience doubts about the story's supernatural elements with some judicious eye-rolling and embarrassed frowning -- her character is so painfully aware that what she's saying sounds crazy how can we possibly doubt her? Among the low-key supporting cast Joe Morton ("Terminator 2") stands out as an amiably down-to-earth psychiatrist.
Robert Zemeckis ("Forrest Gump") takes Clark Gregg's highly derivative haunted house script and pours on the Hitchcockian visual flourishes unapologetically pilfering from the Master's "Rear Window" and "Psycho " among others. His extended homage results in scene after scene of almost unbearable tension as the audience waits for the next shock. There's some clunky storytelling in the first section but the all-suspense second half more than makes up for it with some classic work including what seems destined to go down in movie history as "the bathtub scene."