The Expendables (2010)
Casting can make or break a movie, and occasionally the cast is the only advertised reason why the public should give a damn about a movie. Ocean’s Eleven wasn’t sold on its craft plot or cool director, it was the George Clooney, Brad Pitt, Matt Damon, Julia Roberts movie. Sylvester Stallone is an actor who?s had some lengthy dry spells but he redeemed his legacy a bit with the modestly affecting Rocky Balboa and his ultra-violent modern Rambo. Now he has set his sights on co-writing and directing The Expendables, a film that gathers as many action movie stars together as possible and dares you not to buy a ticket. There?s Stallone, Jason Statham (Transporter), Jet Li (Unleashed), Dolph Lundgren (Masters of the Universe), Mickey Rourke (The Wrestler), Terry Crews (Gamer), Eric Roberts (The Dark Knight), along with wrestler Steve Austin, mixed martial arts champ Randy Couture, and direct-to-video kickboxing ace Gary Daniels. It?s a smorgasbord of testosterone, a group of guys whose median age qualifies them for an AARP membership. The selling point of The Expendables is the cast and the cast alone. The story about some military general (Dexter”s David Zayas) is completely incidental. These men are here to inflict punishment.
The Expendables is ridiculous with a capital R. Whether it’s punching guys in the face while they’re on fire, breaking necks through kickboxing, or, my favorite, hurling an ammunition shell like a shot-put and shooting it in the air, The Expendables exists in that 1980s world of brute and mostly brainless action. It’s a throwback to those halcyon days for the majority of the cast members, back when men were men, women were damsels or temptresses, and action heroes didn’t have to have more than one dimension, and usually that dimension was muscle. The Expendables is enjoyable but much of that enjoyment is because it’s simply enjoyably bad. I have to assume that Stallone had his tongue firmly in cheek when he was designing and executing this film. How else to explain the bizarre moments of action overkill described above, the premise of saving a single girl from a small Latin American military, the fact that the sleazy CIA villain takes off with the damsel, for no personal gain whatsoever, and even gets to deliver the all-important, “You and I are alike” speech villains are always fond of giving.
I was laughing throughout the movie from its excesses and logistical and narrative shortcomings. This is the kind of movie where characters make veiled comments about a family but then we never see the family. This is the kind of movie where the good guys have perfect aim and it never matters how many bad guys there are because they never know how to wield a firearm. This is the kind of movie where Statham’s ex-girlfriend (Charisma Carpenter) gets beat up by her new dude, so Statham goes to confront the guy at a basketball court with all his friends. But the weird part is that the guy’s posse of friends shows no regret that their dude struck a woman. They all rally behind the domestic abuser, and Statham promptly hands them their asses. Just look at the character names: Ying Yang, Lee Christmas, Gunner Jensen, Tool, Barney Ross, James Munroe (no relation to the fifth president), Toll Road, Hale Caesar. Those aren’t cagey nick-names, those are the characters honest-to-God real names. You can?t help watching The Expendables without the impression that the whole movie is one big joke. However, I cannot rationalize that Stallone spent time and money to make a satire of the burly action genre.
Throughout The Expendables you quickly realize why these guys are men of action and not men of debate. Their speaking voices are terrible. Some are marble-mouthed mumblers, like Stallone and Rourke. Some are just hard to understand, like Lundgren. Some have pretty bad English, like Li. Some are weirdly whisper-quiet in their intensity, like Statham. And others are just plainly bad actors, like Austin and Couture. The characters they?re given to play are pretty thin, defined by a quirk or two but not much else. Statham’s character is away from his girl too often, that’s why she becomes an ex. The film is basically a contest of machismo. Everyone tries to out-do the competition in glaring and teeth grinding. Also, given the title, (semi-spoiler) is it a little much to think that Stallone’s entire wrecking crew can escape death, even the guy that gets shot inches above his heart? These are men you want to see doing things, preferably painful plural things, and speaking at a minimum. Only Crews seems capable of doing both acting and action. Too bad he gets short supply when it comes to screen time.
And that’s certainly another problem when the selling point of the movie is an all-star collection of action movie badasses — screen time. Everybody has to be juggled around and fight for screen time. As you’d assume, Stallone and Statham rise into the upper character branch while everybody else must be content for a series of moments and one-liners. Part of the fun of seeing this group of actors together is seeing this group of actors together, which is in relatively short supply save for an all-out assault climax. There’s a scene with some great cameos, ruined through TV advertising, where Bruce Willis and Arnold Schwarzenegger appear on screen and playfully jab at one another. For some, it will be a movie moment decades in the making. My response: “Oh my God! The founders of Planet Hollywood are finally together again (minus Demi Moore).”
On the subject of action, the film presents plenty of bloody, macho men-on-a-mission mayhem, but Stallone edits the sequences too quickly. It becomes a rush of images that the brain barely has time to process before moving on to another location and fight. There are a handful of gory money shots to the R-rated spectacle, but I just wish I was able to understand what was happening. I know Stallone was not trying to emulate the hyper-kinetic verite editing style of the Bourne movies, which have influenced much of action cinema for the last five years. Perhaps given the realities of shooting fight sequences around aging superstars, Stallone was forced to rely on quick edits to mask the illusion that these geriatric men are still capable of intense beat downs. The editing is occasionally disorienting but even worse it?s distracting. It’s harder to enjoy the action. Nor are the action sequences really well thought-out or specific to their location. It’s mostly the guys with guns chase other guys with guns variety. There are some impressive knife fights and brawls, but the concluding 30-minutes consists mostly of action chaos. Men with guns run, get shot, people hurl grenades (why does a martial arts guru like Li forced to use guns most of the time?), explosions occur, rather, rinse, repeat. From a fighting standpoint, there are six good guys and three bad guys, though t?s hard to take Roberts seriously. That’s not a good ratio for battles. There needs to be more colorful henchmen.
My friend Eric Muller and I came to an intriguing ending that would have made The Expendables legendary. After the film’s mission is complete, the gang collects back at Rourke’s tattoo parlor/clubhouse. Instead of palling around and talking shop, the gang all of a sudden starts having a giant orgy, and then Stallone looks directly into the camera and says, “It was always leading up to this. You just never wanted to admit it, audience!” The movie is awash in testosterone and nostalgia, naturally gathering an older male audience. Would it not be hilarious to instantaneously make all those men uncomfortable? They love their masculine superheroes when it comes to death but love is too out of bounds. It would be the greatest piece of performance art ever and certainly gives people something to think about (now that you mention it, those character names sound like porn names anyway).
The Expendables is pretty clear in its intentions. It wants to be a gritty, bloody, hard-edged action movie throwback to the 1980s when the world was simpler and all you needed was one man with a gun running through the jungle to solve political disputes. The film’s entire selling point is its cast of action stalwarts from past and present, though many are beefcake past their prime (Statham is only 37, though). The movie works as a casting gimmick but it doesn’t work as a movie. I’d be lying if I said The Expendables wasn’t entertaining and with its moments of silly, mindless fun, but clearly this could have been a much sharper action movie. At times it feels like a winking satire of the genre that helped make these men stars, but perhaps that’s just me projecting onto the film. Perhaps I’m trying to make it more self-aware to excuse its various shortcomings. This is a fairly mediocre action product despite the all-star reunion. Given the film’s relatively warm reception by its core audience, I await future installments of the Equally Expendables to feature Kurt Russell, Wesley Snipes, Rutger Hauer, Patrick Swayze (composed of archival footage), Steven Seagal, Hulk Hogan, Mr. T, and, naturally, the biggest badass of them all Chuck Norris. As long as Norris roundhouse kicks a live ammunition shell, consider my ticket bought and my sense of dignity put on review.
Nate’s Grade: C+
Posted on August 14, 2010, in 2010 Movies and tagged action, dolph lundgren, eric roberts, jason statham, jet li, mickey rourke, sylvester stallone, terry crews. Bookmark the permalink. Leave a comment.