Showing posts with label Robert Davi. Show all posts
Showing posts with label Robert Davi. Show all posts

Thursday, 14 August 2014

The Expendables 3




The Uncanny X-pend

The Expendables 3
2014 USA/France
Directed by Patrick Hughes
Cinema release print.

Well... this one kinda works well.

If you’ve read my reviews for The Expendables (here) and The Expendables 2 (here) then you’ll already know that I have a soft spot for these movies and the sentiment behind them. I have to confess to being a little worried about the fact that this one’s gone for a much lower age rating than the previous installments and I’ll stand by that and raise some points about that lower on down in this review but... all in all, The Expendables 3 kicks ass if it’s a nice big dose of action you crave.

The cast is as solid as usual and has the usual, additional names added to the roster... this time in the shape of Wesley Snipes, Harrison Ford, Antonio Banderas, Kelsey Grammar, Robert Davi and Mel Gibson (as the villain of the piece). However, there’s also a new, younger team of recruits and future Expendables in this and they were all pretty likeable in here too, with special mention going to the lady in the pack, Ronda Rousey, who has great screen presence in this and does the action scenes just as well as her colleagues. Imagine my surprise when I just looked her up and found out that this is her first feature film.

The story is about what you’d expect from an Expendables film. It’s simple, clichéd, not very challenging to your mental capacity and, basically, does what you’d expect it to do from the message on the tin, so to speak. And there’s nothing wrong with this. I think trying to graft a more intricate plot onto a movie which is basically trying to recapture some of the atmosphere of those late 1970s and early 1980s action movies would have been a delicate tightrope walk to pull off. This movie ditches any attempts to remake its original intentions in this manner and, frankly, the franchise doesn’t need to do that anyway. The film works well at its level and supplies pretty much most of the right ingredients needed to pull it off in style.

There are some casualties though.

Once again, Jet LI has what amounts to a cameo role in this, coming near the end instead of the beginning like the previous movie. Robert Davi is also underused as a minor villain, it has to be said, but it was at least nice to see him. I say this having always pretty much disliked the actor but I think that’s probably more because I identify him with some of the villainous roles he’s played in the past and so, if you’re paying attention here... that means he must be a pretty good actor. I’ve probably unfairly mis-judged him over the years and so, like I said, it would have been nice to see him as a more major villain in this one, I think. Gibson works well with the script he has, though, but I still preferred his turn as the villain in Machete Kills (reviewed here), to be honest.

It’s an entertaining movie, no question, but if I was asked to rank it compared to the others I think I’d struggle with its placing. I think it’s definitely better than the first one, for sure, but I think I can’t say it’s any better or worse than the second one. It’s kinda swings and roundabouts and here’s why...

Okay, there’s been much fuss made about it going for a toned down, lower rating to get more money in at the box office and, while I can’t blame the stupid accountants in Hollywoodland who are the enemy of art and all about making money, I think this was a bad idea on their part. The Expendables franchise has had a pretty hard edge to it in terms of the depiction of on-screen violence and, while the inclusion of the goriness and the exclusion of it in this movie neither, in all honesty, attracts or detracts from the overall experience of watching a fun, action move... it does have two big negatives for leaving the “blood and guts” factor out.

One of those negatives is that it’s almost an essential part of what has become The Expendables brand. It does run the risk of not quite seeming like a bona fide Expendables movie... almost like an A Team kind of romp instead. It’s one of the things that sets it apart from what most of the other films in a similar genre are doing and it’s a shame that it loses the roughness which highlighted it and gave it a certain style.

The other big negative about cutting out the gore, for me, is that in doing so the film does what a lot of big action movies do these days in that it pretty much glamourises violence. Frankly, when you show the goriness of, say, a man being literally cut in half by a barrage of machine gun bullets, with bits of his innards flying everywhere... you are showing a very real and horrible consequence of the act of violence. It’s not glossing over it in any way and it makes you think twice about the possibility of doing violence yourself. However, when you lose the bloody consequences of that violence and cow-tow to the censors, and there’s a certain irony here, then you actually end up making that violence look like a very attractive element of life. And while I enjoy action movies as much as the next guy or gal... I think it’s important that youngsters need to get a feel for the fact that violence is something a human being should use as a last resort and not go in all gung ho and guns blazing. Just my two pennies worth there but it’s another reason why I’m keeping my fingers crossed that the DVD and BluRay releases of this movie are released in a much harder cut.

On the other hand, this movie does work better in terms of the way the characters are, mostly, all interacting and, for the most part, getting a pretty equal amount of screen time. The ensemble nature of the first movie, which was one of its big strengths and which I thought got a little lost in the second one (even though I preferred the second overall) is back and it serves the delivery of the story very well. Stallone and Statham should definitely work together more and the team they’ve got here all seem to have pretty good chemistry which, in this script more than the last, comes more to the foreground. So that’s all good.

At the end of the day, I can’t decide if I liked The Expendables 2 or The Expendables 3 more and, frankly, I don’t care... because whichever way you cut it you’ve got a great little action movie which works well and, like the first two, has a marvellous score by Brian Tyler, a composer I’ve been really getting into the swing of lately, since hearing his scores for the fourth Rambo movie and Battle: Los Angeles. Bits of the score definitely sound like they’ve been recycled from the previous movies but that possibly means this one is pulling the leitmotif together in an exceptional way (I’ll be clearer about it when I get my hands on the CD, on that count). So, all in all, if you liked either of the first two movies in this franchise then, despite the ratings drop, The Expendables 3 really delivers the goods on what you are expecting from the trailer (even though my favourite Banderas line of dialogue from the trailer didn’t make it into the final cut, by the looks of it). Definitely one to go see if you like these kinds of movies. I’ll definitely be picking this one up again on the home video release, for sure.

Saturday, 21 September 2013

Licence To Kill




Off Licence

Licence To Kill 
1989 UK/USA
Directed by John Glen
EON Blu Ray Region A/B/C

After having my faith restored in the Bond franchise after the trauma of Roger Moore, with Timothy Dalton coming aboard for The Living Daylights, I was ready to see more of Dalton’s excellent portrayal of Fleming’s most famous creation in action. That previous excursion for 007 had been a rare mix - we had a great performance by Dalton as Bond and a great script to work with. Unfortunately, while Dalton is indeed still excellent in his second and final outing as 007 in Licence To Kill, it has to be noted that it’s a really awful movie. Not quite as bad as Octopussy, obviously... but still pretty dreadful.

It's said at the time that the original title of this movie, Licence Revoked, was changed because it was thought an American audience wouldn't understand the word revoked. I don't know if that's the actual reason the title was changed but, title change or not, this movie is interesting in a lot of ways.

For starters, it’s the last film for a lot of the EON Bond personnel. Timothy Dalton, Caroline Bliss, Robert Brown and even regualr director John Glen would end their run on the series with this one. Similarly, it’s the last one where Cubby Broccoli was actually on set, after being taken ill halfway through the shoot on this one. After this, he still produced but took something of a back seat, is my understanding.

But there’s lots of other interesting stuff going on here... especially on the acting front. Pedro Armendáriz Jr, son of Pedro Armendáriz, who took his own life after completing filming on From Russia With Love, has a few little moments in this one and, golly, he really does look like his dad in some respects. I remember doing a double take when I saw this at the cinema for the first time with a “doesn’t he look like” moment, before I even knew he was the son of the actor in question.

More importantly, we have David Hedison returning to the role of Felix Leiter and, up until Jeffrey Wright played the character for a second time in A Quantum Of Solace, he was the only actor to have reprised this role. And he’s still my favourite Felix actor. Interestingly, his previous performance as Felix was in Roger Moore’s opening film Live And Let Die, which is ironic because the sequences in this film directly following the opening credits, with Felix being half eaten by a shark, are pulled directly from the novel of Live and Let Die (both Live And Let Die and For Your Eyes Only also have sequences pulled directly from this novel). Now the thing about Felix, is that this happened to him in what was actually the second novel and his arm was chewed off. So for the rest of the books he had a hook for an arm and was retired from the CIA and working for the famous Pinkerton’s Detective Agency, turning up to assist Bond at incredibly well timed moments. Unfortunately, Hedison didn’t reprise the role a third time and, possibly because of the impact of this sequence, the Felix Leiter character was not brought back until Daniel Craig’s first movie in the series, which was the third version made of Casino Royale.

So... interesting stuff.

You have Robert Davi as Sanchez, the main villain of the piece, and one of his men is played by Grand L. Bush. Of course, these two had already been teamed up together as CIA agents in the original Die Hard movie, which is kind of an interesting thing too (more on Die Hard in this review a little later... although, if you want to read my review of the first Die Hard film, it’s here). The film also has a young Benicio Del Toro in it as another Sanchez henchman and, as if all this wasn’t enough, this film sees pretty much the most scenes and contribution Desmond Llewellyn’s “Q” has had in any of the movies. A shame his parts seem to get bigger in the worst films in the run, but there you go.

Licence To Kill had a lot of pressure on it to perform. Since The Living Daylights had been released, Hollywood had started getting serious about action again. The intervening two years had seen the start of, not only the Die Hard franchise (still going strong to this day) but also the equally successful Lethal Weapon franchise. Bond was perceived as being a bit old fashioned and corny so the producers wanted to make the content of this movie more adult. Which I’m all for in some ways. Bleeding bullet holes, an intelligent plotline, a bit of sex and other grown up malarkey would not harmed the film in any way, I suspect, and possibly brought Bond back to the status the writers and producers had in mind.

Unfortunately, what we have is a film which is just plain nasty. Torture sequences where a man’s head explodes due to deliberately changing the air pressure on him, grinding machines and so on. This is not adult... in some ways it’s quite a childish, knee-jerk response, actually. It’s just got an unpleasant edge which I find hugely questionable for something which is supposed to be a Bond film. Dalton plays the “grown up” Bond very well, just as he had in the previous film, and you certainly can’t miss his excellent performance in the role as it is giant steps above what Moore developed into during his tenure... but just having the perfect casting does not a Bond film make and the tone is just a little too edgy throughout most of the movie for my liking. I think this plays a big part in why I consider this film to be one of the most disappointing entries in the series.

And watching it again, I can identify another element which goes a good way towards undermining this movie which I didn’t necessarily realise when the film was released. And it’s this...

John Barry had scored his last Bond film with The Living Daylights, due exclusively, as far as I can glean, from his bad experiences working with the pop group A-Ha and his failure to negotiate control of the opening Bond song in any of the later Bond projects he was approached for. He simply refused unless he could do what was wanted for the films and, I have to say, when it’s John Barry you’re talking about, you can replace that phrase with “do what was needed for the films”.

In his place the director went with the late, great Michael Kamen, who had already cut his teeth on the very same two action franchises that had lead the Bond producers to try and up their game a little... notably the Die Hard and Lethal Weapon series. And, to be absolutely fair to him, Kamen delivered an absolutely cracking action score to this which fully integrated the John Barryesque arrangement of Monty Norman’s original Bond theme. However...

It’s just not a Bond score. It’s not over the top enough. Barry used to really make you feel the tension and pulled no punches in the fight scenes with trumpets, trombones and whatever else ballsy brass he had up his musical sleeve... and you would really feel it. Kamen, instead, delivers and slightly Bond flavoured Die Hard score... and it just doesn’t really rip into you the way it needs to. Now it’s probably not his fault, he was probably told to score it like this and, certainly, his own stylistic voice is probably something I’m hearing in this too... it just doesn’t feel appropriate or hit you hard enough, is my feel. And while I think Kamen’s score is perfectly fine, even excellent, as a stand alone listen... I really feel that with a John Barry score on it, the movie might have gained a little bit more traction with me... and possibly with it’s target audience too.

As it is, despite some well thought out action scenes, two of the most beautiful Bond women to grace the screen since Thunderball and Timothy Dalton’s beautifully played “hard man’s attitude” version of Bond, the film still manages to fall very flat. It’s not one I’d recommend and I think it says something that, when legal complications stopped the producers from making any more Bond films for six years after this one, I’d just assumed that it was because everybody was as disappointed with it as I was (apparently this did not have strong box office) and realised it was a terrible movie. So I was disheartened with the franchise once again... but things would be getting better once more. Brosnan’s era was just around the corner.



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