Power producer Neal Moritz’ (Green Hornet Fast & Furious) company is called Original Film which is ironic because he hasn’t made a truly unique motion picture in some time. His latest effort Battle: Los Angeles isn’t groundbreaking by any stretch of the imagination but packs enough punch to leave you saying “Thank you sir may I have another?”
Jonathan Liebesman (The Texas Chainsaw Massacre: The Beginning) directs this massive movie about a race of aliens colonizing our planet but as the title suggests the action is centered on the City of Angels. Instead of watching the world at war we witness the American military’s last stand on the West Coast by following a single squad of soldiers on the ground as they fight their way through the city to pick up scattered civilians before the Air Force levels Los Angeles. 2nd Lt. William Martinez (Ramon Rodriguez) leads the troop but is too young to be calling the shots in a cataclysmic event like this. Thank heavens Squad Sgt. Michael Nantz (Aaron Eckhart) was called back in for one last mission because it doesn’t take long for the rest of the battalion to realize that the reluctant hero is their best chance for survival.
It’s a good thing that Liebesman and his technical crew are on the top of their game in Battle: LA because most of the other aspects of the production are just downright foolish. Writer Chris Bertolini took the framework from a handful of classic war movies and applied them to his script resulting in highly predictable scenarios and a pace that marches to the beat of past genre entries like Independence Day and Black Hawk Down. His dialogue filled with military jargon and 5th grade humor is quite literally laughable at some points while the thinly crafted characters are all token “team members” that you’ve seen before in films like Jarhead from the soon-to-be-father who’s not sure if he’s going to make it back to his wife to the new recruit/virgin who’s too young to die to the guy with the chip on his shoulder. We get brief glimpses of their back-stories in the first twenty minutes of the movie but as Nantz says during his Bill Pullman moment when the tide begins to turn “none of that matters now.”
What does matter is that Battle: Los Angeles is a roaring thrill ride that barely lets up from start to finish. From the moment the soldiers hit the streets they’re thrust into a tense and gritty survival situation that vaguely mirrors the urban environments in which our Marines are currently engaged in the Middle East. Liebesman uses handheld cameras and close-ups to capture the calamity of combat giving the picture a documentary quality that helps it find some semblance of individuality. Though his actors aren’t required to do much acting (save for Michael Pena whose small role as a dedicated father stands out) and the script as stated is noticeably sub-par capturing their facial expressions as hovercrafts blow fighter jets out of the sky brings out emotion that most of them wouldn’t be able convey in a more traditional performance.
As I continue to heap praise upon the film’s technical achievements I must also note editor Christian Wagner’s chaotic cuts that heighten the soldier’s state of paranoia and the overall sound design of the picture. Until we get up close and personal with one of the aliens Liebesman doesn’t show us much; we have a hard time seeing them because they move so fast but we can hear their quick movements and the affect is quite unsettling much like the performances from Michelle Rodriguez Ne-Yo and a slew of the films co-stars.
Whether or not the filmmakers originally intended on making a movie that was more than the average alien invasion flick is neither here nor there. Is it a rehash of the most exciting moments in War of the Worlds or Red Dawn? Sure it is but it’s also an electrifying film that manages to be engrossing and entertaining in spite of its flaws.
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.