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.
At the time of Scream’s release in 1996 the state of Hollywood horror was at a pretty low-point. For every Dracula there was a Frankenstein. For every original idea there were dozens of painful sequels. There were some truly terrifying films released during the decade but there wasn’t a lot we hadn’t seen before. Then along came Wes Craven’s now classic slasher pic a revisionist take on the genre that simultaneously dissected its tropes while embracing them. It was equally hilarious and horrific thanks to the auteur’s precise execution and Kevin Williamson’s sharp sardonic script that dynamically pooled the characters’ points of view with those of the audience. Scream’s self-awareness was a true game-changer that has carved a very nice place in film history for itself. Fifteen years and two sequels later the franchises’ principle players have all returned to Woodsboro to catch up on cinematic commentary and thwart the sadistic plans of yet another Ghostface killer in Scre4m.
In how many ways does this bloody new chapter differ from the others? Not many. The story begins when Neve Campbell’s Sidney Prescott now the best-selling author of a self-help book returns home on the last stop of her promotional tour. There she meets up with Dewey and Gale Weathers-Riley (David Arquette and Courtney Cox) her friends and mutual survivors of the Woodsboro Murders though there’s precious little time for a warm reunion because someone has inherited the mantle of Ghostface and begun taking out the town’s well-endowed teenagers. The trio along with a young and attractive cast of victims and suspects including Emma Roberts Hayden Panettiere Nico Tortorella and Rory Culkin attempt to stop the killer despite an escalating body count.
As with the original Williamson’s screenplay is the most valuable part of the production. He employs the same narrative formula he did in ’96 but puts it in contemporary context riffing on cinema’s current trends (namely sequelitis and the torture-porn craze the latter which the filmmakers are clearly not fans of) his own franchise (the opening self-deprecating sequence is absolutely riotous and perhaps the funniest in the entire series) and America’s social media obsession (Twitter Facebook and YouTube references take the place of pagers and other outdated cultural staples further separating the film from its predecessors) which plays a larger part in the story and its characters motivations than you really want to know. If there ever was a film for and about the been-there-done-that post-modern generation it’s Scre4m.
While Williamson is at the top of his game Craven’s direction doesn’t appear to have evolved much since helming the original (a sad fact considering his creative growth with Music From The Heart and Red Eye). A few eerie shots aside he doesn’t take any risks with the material resulting in a monotonous merry-go-round of murders that’s consciously grislier but noticeably less effective than those found in the earlier entries. Thankfully his enthusiastic cast is more than willing to go over-the-top and beyond to sell the (few) scares; Panettiere particularly stands out as the confident Kirby Reed as does Alison Brie as the slimy PR girl Rebecca Walters. They’re all archetypes fitting into the film’s modus operandi of amusingly adhering to conventions and making it relatively easy for you to predict who’s going to die without spoiling the fun.
Still with so many preconceived notions about what Scre4m should be it’s hard to imagine all moviegoers loving its throwback premise and downright silly tone. What was once clever is now contrived; what was once refreshing and exhilarating for horror buffs is now exploitative of their common knowledge and passion. As a horror-comedy hybrid it brings some funny but not a whole lot of fear; in other words it’s very much like the original. Not that there’s anything wrong with that…
If there’s one positive thing about Delta Farce is that is actually follows a tried and true comedy formula-- namely the fish-out-of-water scenario—with moderate success. Down on his luck after losing his job and his girlfriend on the same day Larry (of the Cable Guy variety) decides to join his neighbor Bill (Bill Engvall) and his combat-happy buddy Everett (DJ Qualls) for a relaxing weekend of playing army. But when the three unlucky guys are mistaken for Army Reservists they’re loaded onto an army plane headed for Iraq--and mistakenly ejected in a Humvee somewhere over Mexico. Don’t ask. Convinced they’re actually in the Middle East the clueless wannabe soldiers turn into Magnificent Seven meets the Three Amigos and save a rural village from a siege of bandits proving to be real heroes after all. If you need to laugh at the war on terror you might as well do it with Larry the Cable Guy. He serves up his particular brand of comedy making light of a bad situation. In fact not only does he come off somewhat sympathetically as the hapless boob with a heart of gold he also gets the hot chick at the end of the movie. Go Larry! As his accomplice fellow stand-up Bill Engvall follows his own comic routine playing a hen-pecked trailer trash denizen who views this adventure as a great way to escape his overbearing wife and snotty kids. As the third doofus DJ Qualls (Hustle & Flow) plays a trigger-happy wannabe jarhead who sees this opportunity as a way to gain some street cred. And in a supporting role Danny Trejo a Robert Rodriguez regular pokes fun at his scary looks as the leader of the marauding bandits aptly named Carlos Santana. Yes the jokes are plenty. Director C.B.Harding is obviously a Larry the Cable Guy crony since his only other feature film credit is the Blue Collar Comedy Tour movie. Honestly all that’s really required of him is to point and shoot with maybe a few action sequences to coordinate here and there. But while the formula works as a cohesive movie having to sit through Delta Farce’s comic stylings is the tricky part. What it really boils down to is whether you’re a fan of Larry the Cable Guy. If so you’ll (I would hope) realize you’re watching a pretty stupid comedy but will laugh in the appropriate parts. If not I would really wonder what the heck you are doing sitting in the theater.