THE EXPENDABLES 2: Track Him, Find Him, Kill Him


The Expendables 2 (2012) – Directed by Simon West – Starring Sylvester Stallone, Jason Statham, Jet Li, Dolph Lundgren, Yu Nan, Chuck Norris, Terry Crews, Randy Couture, Liam Hemsworth, Jean-Claude Van Damme, Bruce Willis, Arnold Schwarzenegger, Scott Adkins, and Charisma Carpenter.

If you’re new to the Anxiety, be aware that SPOILERS LIE AHEAD. This is NOT one of those reviews that talks about the movie without talking about the movie. This is not a huge issue with a movie like EXPENDABLES 2, but I don’t want anyone to read ahead under false pretenses. So, one last time, there are SPOILERS ahead of you if you keep reading.

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THE EXPENDABLES 2 is the perfect dessert for a summer that offered a lot of high-quality films (The Hunger Games, The Avengers, Amazing Spider-Man, Dark Knight Rises, Prometheus), but also a relatively staggering amount of movies that, irrespective of how well they were made, were not designed get you laughing (Hunger Games, Dark Knight Rises, Prometheus, The Raven, Abraham Lincoln: Vampire Hunter, Snow White & The Huntsman, Total Recall). There were movies that tried to offer a good time, but those films were largely mediocre to awful (Dark Shadows, Men in Black 3, Battleship, The Watch, and the good but disappointing Brave). I wish I’d made it to the theater to see Ted, because that seems to have been the one comedy released this summer that really delivered the funny.

If you’ve seen the trailers for EXPENDABLES 2, you know the film promises to deliver explosions and laughs, and that’s exactly what EX2 delivers.

Part nostalgia, part pure action, Sylvester Stallone’s all-star ode to the way he used to be is big, loud, and wonderfully ridiculous. Unquestionably, a big part of the fun here is watching all of the action all-stars sharing the screen, and if I had one small complaint with EX2, it’s that returning characters Yin Yang, Gunner, Hale Caesar, and Toll Road (Jet Li, Dolph Lundgren, Terry Crews, and Randy Couture) are minimized to a degree to make way for new arrivals Booker, Maggie, and Billy the Kid (Chuck Norris, Yu Nan, and Liam Hemsworth), and returning Hall of Famers Church and Trench (Bruce Willis and Arnold Schwarzenegger).

Don’t get me wrong – it’s great to see Norris, Willis, and Arnold banging around in this movie, and both Yu Nan’s Maggie and Liam Hemsworth’s Billy the Kid provide some some of the film’s stronger narrative elements, but their inclusion is obviously going to come at someone’s expense, and that person is not going to be Sylvester Stallone (nor should it). It’s disappointing that Jet Li is only around for the opening action sequence, that Crews and Couture aren’t given more to do (Couture was one of the best parts of the first EXPENDABLES movie), and that even Jason Statham’s role feels diminished this time around.

After Barney Ross and Lee Christmas (Stallone and Statham) beat up some bad guys, Barney sends Lee back to get their weapons. I’m sitting in the theater and thinking, “Why are there so many burned kernels in this tub of popcorn? And why is one of the two main stars in the movie being sent on an errand?” Lee even makes this same point (about the errand, not the corn), when he tells Barney to get someone else to do it. But Barney doesn’t, and so Lee goes off for a solo run. Immediately, I was scolding myself for questioning what was happening because clearly Lee was going to be in for some solo ass-kicking. Maybe he’d be on the receiving end, maybe he’d be on the giving end, but what wasn’t going to happen was Lee would drop out of the narrative.

Yet, that’s what happens. He goes off to get the equipment. He complains on the radio to Barney. He drives back. He’s late for a fight where the team gets saved by the surprise arrival of Booker. Someone cracks a joke about “Christmas being late this year.”

EXPENDABLES 2 is a bit of a different beast than the first EXPENDABLES movie. The first film felt like a declaration by Stallone that could still make a kick-ass action film with the best of them. And he could. To achieve this, Stallone wrapped himself in the context of younger, faster, stronger men. Sure, Willis and Arnold were around for a cameo, and yeah, there was Dolph Lundgren still kicking around in his company, but Statham and Li were guys with active action-film careers, and Crews and Couture were noticeably younger and bigger.

In contrast to the first movie, EX2 is a victory lap, and it’s a well-earned lap for Stallone, Schwarzenegger, Willis, Norris, and Jean-Claude Van Damme, who plays a villain named, er, Vilain.

The result of this celebration of themselves is a more humorous film, and while EXPENDABLES 2 isn’t, on the whole, a better overall movie than EXPENDABLES, it is a more enjoyable movie. I’ll watch the first film when I want to watch a purer action movie, but the second film when I want something a bit lighter. They’re both very good movies, though, and much like EXPENDABLES had me hoping for EXPENDABLES 2, EX2 already has me wishing for EXPENDABLES 3 to get here.

I say “lighter” like this is a pure comedy and that’s not the case. In fact, now that Stallone has handed the directing reigns over to Simon West, the action sequences are a notch better, too. EX2 just hums from start to finish. It opens with a fantastic rescue mission that sees the team rescuing not only a Chinese businessman, but Trench, too. It’s a big sequence, longer than, say, a typical James Bond opening, and West makes us feel every punch, every kick, every gunshot, every slice of the knife. There’s all manner of trucks and copters and smashing and explosions, and it sets a powerful tone.

Then Jet Li exits after one last good line. Yin Yang is jumping from the Expendables’ plane with the rescued businessman and says that maybe he’ll be back and maybe he won’t. Gunner says, “If you don’t come back, who am I going to pick on?”

“I’m sure you’ll find another minority,” Yin shoots back.

There’s a victory party at the local bar back in the States, but Barney takes off early after having a chat with Billy. The youngster wants to get out of this business and go settle down with his girlfriend but he also wants to stick through to the end of the month. In other words, you pretty much know he’s going to die. And he does. Church gets Barney and Co. to take a new assignment to even up the score after Barney’s actions at the end of the first mission. Barney makes the crew take a woman along with them because Maggie is an expert at getting into the safe they need to crack. They get the device Church wants, but then Vilain, his sidekick Hector (Scott Adkins), and their terrorist group, the Sang get the drop on Billy and force Barney to give the device over to them.

Van Damme is top notch in the film as the cool, confident bad guy. He kills Billy by having Hector hold a knife before the kid’s heart and then kicking it through his chest and into his heart. It’s a pretty bad-ass move, and nearly everything JCVD does in this film is bad ass. He’s the perfect bad guy for a film like this, and his final one-on-one fight with Stallone is a darn good one.

There’s a plot here about JCVD stealing some abandoned Russian plutonium but it’s just the vehicle to get to all the action and laughs.

When the group is pinned down in an abandoned Soviet training facility that looks more like an abandoned back lot of a Hollywood studio, a mysterious hail of bullets comes in to kill all the Sang and save the day. Who could this mysterious savior be?

None other than Chuck Norris. The movie has a lot of fun with in-jokes and none more than with Norris. His character’s name is Booker, which is the same name of the character Norris played in Good Guys Wear Black. Stallone refers to him as a “lone wolf,” which is the title of the Norris flick, Lone Wolf McQuade. They even work in one of those Chuck Norris tough guy jokes when Booker says that he was once bit by a poisonous snake, but after five days of holding on, the snake died.

Almost as if he was taking this as a challenge, Arnold reminds everyone that he’s the King of One Liners, dropping an “I’ll be back” one time too many for Willis, who shoots back a “You’ve been back too many times already. It’s my turn,” and when he runs off, Schwarzenegger says, “Yippy Ki Yay,” stealing one of Willis’ famous line. He even comments on all the dramatic reappearances after Norris saves him and Willis by asking, “Who’s next, Rambo?”

As I mentioned up above, EXPENDABLES 2 is the perfect dessert with which to end the summer. It’s a big, loud, explosive, fun movie. The Sang might even set a record for most henchmen killed in a film. It’s a victory lap film, and I enjoyed every second of it – even when Arnold would say something that caused me to roll my eyes, it made me smile, because I was giving him the same eye roll that I’ve been giving him his old career. One of the reasons why I can’t stand awards shows is what Billy Crystal said back when City Slickers was out. He said that Slickers was the kind of film that was never going to win an Academy Award but that he doubted people had more fun seeing any other film that year. That’s what EXPENDABLES 2 is to me – it’s not nearly the best film of the year, but there hasn’t been many films more enjoyable to watch.

Here’s hoping this film is successful enough for a third film; if it happens, the rumor mill is already in full force, with talks of Steven Seagal, Nicolas Cage, and John Travolta perhaps jumping on board. (I can’t see Eastwood doing it.) There’s even talk of a female EXPENDABLES, which Simon West tossing out names like Angelina Jolie and Cameron Diaz. I suppose that West’s dream list shows the difference between men and women in Hollywood – when the male EXPENDABLES was made, it was largely filled with either guys who’s glory days were behind them, or guys that had never had glory days. Statham and Li were still viable solo stars, but of action movies and not considered A-list talent. When it comes to the female version, however, here’s West tossing out two A-list stars to come in. When A-list men get together, they make Ocean’s 11, but the women are supposed to make a fun explosion fest? That said, I hope a female EXPENDABLES is made with the same mix of ex-A-listers and current genre stars. We’ve been playing the casting game a bit over at the Better in the Dark Facebook page, and the team I assembled was Gina Carano and Sigourney Weaver in the Statham/Stallone roles, and rounded out with Carla Gugino, Michelle Rodriguez, Lucy Liu, Rhona Mitra, Milla Jovovich, Jamie Chung, and the Babysitter Twins. Pam Grier could take on the Scwarzenegger/Willis role, and Uma Thurman and Eliza Dushku would make great bad guys.

Playing FEMALE EXPENDABLES is a fun game and it makes you realize just how many viable female action stars are out there. Certainly, there’s not as many, but there’s more than enough to make a darn fine film. Whether we get a female version or another male version, however, I just flat-out want more EXPENDABLES films in my life.

THE HUNGER GAMES: You Call That a Kiss?

The Hunger Games (2012) – Directed by Gary Ross – Starring Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth, Woody Harrelson, Elizabeth Banks, Lenny Kravitz, Stanley Tucci, Donald Sutherland, Wes Bentley, Toby Jones, Alexander Ludwig, Willow Shields, Amandla Stenberg, and Paula Malcomson.

THE HUNGER GAMES is an extraordinary film, thanks primarily to Gary Ross’ superb direction and Jennifer Lawrence’s totally engrossing performance as Katniss Everdeen. Gorgeously shot, expertly paced, with a script that hits all the right notes, HUNGER GAMES never forgets that at its center sits the horrible truth of children killing children for the entertainment of the elite.

And, by extension, us.

Let me state a few things plainly right off the top. If you hate this movie because Jennifer Lawrence is too “fat” to play Katniss, f*ck off. If you hate this movie because you didn’t realize Rue was black, f*ck off. If you hate this movie because, quote, you liked it better when it was called Battle Royale/Lord of the Flies, unquote, f*ck off. None of you will find anything of interest here, so your life will be better if you spend the next five minutes doing anything but reading this review.

Now, if you genuinely dislike, or even hate this movie because you think the script is dumb, the direction overbearing, the acting wooden, or anything else, please stick around. I’m not suggesting I’m going to change your mind, because I’m really not interested in changing your mind. I’m just here to give you mine and if you don’t agree, well, there’s nothing wrong with that. There’s plenty of people out there who dislike HUNGER GAMES for completely valid reasons and I respect all of those people and all of those opinions.

I just don’t have time for anyone who wants to caustically dismiss a movie because it’s not something else, or because of one small item. I mean, great, Battle Royale had kids killing kids, too, but do you know what it didn’t have?

Just about everything else THE HUNGER GAMES does. It’s too easy to play the, “I liked this story better when it was called ________” card. Are there ripoffs? Sure. THE HUNGER GAMES isn’t one of them.

In the post-apocalyptic, rebuilt world of Panem, the United States (or maybe it’s all of North America) has been divided into twelve separate districts. Each year, a male and female kid (between the ages of 12 and 18) from each district is chosen at lottery to travel to the Capitol and kill each other in the Hunger Games. There’s only one winner. Everyone else dies. The lottery is called the Reaping, and all of the of-age kids gather in a town square to see the name pulled at random from a bowl. On this year, for the 74th Hunger Games, the female tribute from District 12 is Primrose Everdeen (Willow Shields), a mousy 12-year old in the lottery for the first time.

Unable to bear the thought of her sister in the Games, Katniss Everdeen rushes forward to volunteer to take her sister’s place. Gary Ross does a phenomenal job quickly building up this moment. Prior to Katniss’ volunteering, we see how tough life is in District 12. Food is not guaranteed, and Katniss hunts with her friend Gale (Liam Hemsworth) to put dinner on their table. Katniss and Prim’s father has died in a coal mining accident and their mother has bouts of uselessness as she’s overcome with her husband’s absence.

Ross shows us the poverty of District 12 and the beauty of the surrounding natural landscape. (The districts are cordoned off and going outside the district gates is forbidden.) The district has a washed out, muted look, full of greys and browns and dull blues. Clothes are old. Houses are ramshackle cabins. The whole vibe is like a late-19th/early-20th century community built on coal mining. In the middle of it sits Katniss, a proud teenage girl who’s had to assume the mantle of leadership in her family after her father’s death. She talks to Prim, keeping her as calm as possible, and helps her dress in her Sunday best for the Reaping.

When Prim’s name is pulled out of the lottery bowl by Effie Trinket (Elizabeth Banks), Ross masterfully depicts Prim’s horror and the gravity of this decision by having the girls around her slowly back away, instantly isolating her from the community. Katniss steps forward to volunteer and we begin to see the disconnect in Panem between the residents of a lower-class place like District 12 against the upper-class elitists that actually enjoy the Games. To Katniss, Prim, male tribute Peeta Mellark (Josh Hutcherson), and the rest of this community, the Reaping is the annual Worst Day of the Year because everyone in D12 knows that they’re sending off two of their children to die.

All because of a failed rebellion 74 years and the government’s insistence on never letting them forget it.

From the Capitol side of the equation, however, the Reaping is the start of the annual Best Time of the Year. Effie is all smiles and bubbles greeting Katniss to the stage, while the young girl is completely shocked and overwhelmed by what’s just transpired. This disconnect between how the poorer districts and the Capitol treat the Games is seen repeatedly in the film. It’s an artful balance on Ross’ part between the kids who largely don’t want to be here killing each other and the Capitol’s elite who love watching them kill each other.

After Katniss says a quick goodbye to her sister, mother, and then Gale (who promises to look after Prim), she and Peeta are hurried onto the train that will take them cross country to the Capitol. You can feel how uncomfortable Katniss and Peeta are among all of the opulence on the train. We see Katniss, the girl who has to hunt for squirrels to feed her family, suddenly surrounded by all manner of ornate and beautiful food. On the train, the tributes are introduced to their coach, the last Hunger Games winner from District 12, Haymitch (Woody Harrelson), who’s a bit of an uninterested lush.

Once they get to the Capitol there’s lots of public interviews and training and trying to find themselves amid all the glamour of the Games and the stark reality of what’s coming. It’s this middle section that’s the weakest part of the film for me, but it’s also sort of perfect because it reminds us of the absurdity of this situation and the fact that Katniss and Peeta are still kids. It’s hard enough knowing who you are when you’re 16, let alone when you suddenly find yourself a celebrity in a strange land about to put your life on the line. The film perfectly places Katniss and Peeta (though it should be noted the film is really Katniss’ film, and Peeta occupies the role of lead secondary character) in between the “Careers,” the tributes from the richer districts who spend their life training to volunteer for the Games, and the younger kids who know they have no chance. Katniss and Peeta are somewhere in between, good enough to not be easy meat but not good enough to be immediate favorites.

Things start to change when Katniss catches the eye of the crowd. The folks of the Capitol treat this as a spectacle, with Caesar Flickerman (Stanley Tucci) and occasionally Claudius Templesmith (Toby Jones) emceeing the festivities. Katniss is uncomfortable being transformed into “the girl on fire” as her stylist Cinna (Lenny Kravitz) creates elaborate costumes for her that win the crowd’s attention. Katniss does her part, too, like when the Games’ oddsmakers don’t pay attention to her so she shoots an arrow through an apple in a pig’s mouth on a table in the judges’ area.

All of this spectacle and selling oneself is important to gaining sponsors among the elite that can help a tribute survive the Games. It’s an important part of the novel and an important aspect of the absurdity of the Games, but it also bogs the film down just a bit. What works in this section is the confusion between Katniss and Peeta. During his solo interview with Caesar, Peeta reveals that he’s always had a crush on Katniss, which casts the two of them as “the starcrossed lovers” for the audience. Katniss is not happy with this turn because she’s unsure if Peeta is being truthful or if it’s just a ploy to build a bankable narrative for the crowd.

When we get to Act 3 and the actual Games, Ross proves himself capable of filming a decent action sequence. The violence is largely minimized – the film sacrificing raw brutality for emotional response. It’s a strategy that works for me, though there is something to be said about forcing the audience to witness the deaths. Getting to see the kills in quick glimpses works for me, though, because the violence of the Hunger Games is there to be enjoyed by the interior audience of the Capitol and reviled by the interior audience of the various districts around Panem. For us out here in the exterior, I don’t think we need the violence reinforced; what we need to see is how the deaths effect Katniss, and we get that in abundance.

The most emotional part of the film comes when Katniss befriends Rue (Amandla Stenberg), the youngest female tribute. Katniss sees a bit of her sister in Rue, but Rue is much more capable of taking care of herself. When the Careers trap Katniss in a tree overnight, it’s Rue who shows Katniss how to save herself by dropping a nest of tracker jackers into the middle of the sleeping Careers. Katniss gets stung, too, and Rue helps her heal and watches over her. Katniss concocts a plan to strike back at the Careers, but the plan goes awry and Rue ends up getting killed by Career tribute Marvel (Jack Quaid), who then gets killed by Katniss.

Rue’s death devastates Katniss, and she honors the death of the young girl with a song and flowers, then looks into the camera and flashes a sign that causes a riot in Rue’s home district. There’s no moment in the film that matches the intensity of THE HUNGER GAMES like this one, and as much as I’d been enjoying the film and as much as I’d been carried along with the story, it was this moment of a devastated, defiant Katniss looking into that camera and connecting with the citizens of District 11 that I knew I was watching a truly special film.

Growing wise in the ways of audience manipulation, Katniss cares for an injured Peeta, taking advantage of a rule change that allows for two winners of the Games as long as they’re from the same district. She channels her own growing confusion over her feelings for Peeta into a performance for the people at home. Instead of coming off as a romance, Katniss’ manipulation of Peeta serves as a bookend for Peeta introducing the whole starcrossed-lovers story line. Her kiss for the camera is the film’s most downbeat moment as it reveals a new side of Katniss, a maturing girl who is learning how to treat the very deadly Games as a game in order to curry favor with potential sponsors. It’s a true loss-of-innocence moment for Katniss as the transformative power of the Games is revealed. Katniss and Peeta win the Games, but then the rules change again, reverting to the “one victor only” dictum. Refusing to fight, they threaten to go all Romeo and Juliet double suicide before the Gamesmaster Seneca Crane (Wes Bentley) steps in to allow them both to survive.

From start to finish, THE HUNGER GAMES is a beautifully shot and acted film. Gary Ross’ direction is simply fantastic, knowing when to let the camera linger and when to use a shaky cam to enforce the chaos of the situation. I love the technique of going quiet in loud moments, and Ross uses it a couple times here to great effect. I generally despise weird costumes and weird haircuts in my sci-fi, but HUNGER GAMES makes it work because it highlights the wide disconnect between life in the Capitol and life in District 12. There are an entire host of good performances by veteran actors here, led by a quietly menacing Donald Sutherland as President Coriolanus Snow. I have so much respect for actors like Woody Harrelson, Liam Hemsworth, and even Lenny Kravitz for hitting the perfect notes in smaller roles. Ross gets the exact performance he needs out of all his actors, but these three are vital to showing how Katniss manages to connect with people.

Jennifer Lawrence is magnificent as Katniss, instantly drawing me into the movie and making me believe fully in this character. Katniss is tough, resilient, and continually overwhelmed by the Capitol, by Peeta’s love for her, for the Games, but she’s never defeated. She manages to take her own personal pain and give it to the world, and even though she turns manipulative later in the Games, you can also see that she’s genuinely confused by her growing attraction towards Peeta and bothered by playing to the audience at home.

I love nearly everything about THE HUNGER GAMES. Gary Ross and Jennifer Lawrence have combined their talents to produce a very special movie. THE HUNGER GAMES is incredibly moving, heartbreaking, and uplifting. It’s also an incredibly serious film, deeply disturbing in its content, but also insightful about contemporary culture. Truthfully, THE HUNGER GAMES isn’t a great time at the theater in the conventional blockbuster sense; this isn’t a big, fun, action romp of a popcorn flick, and if you go in expecting that I think there’s a very good chance you’ll leave disappointed. I saw this film and The Cabin in the Woods on back-to-back days and while both movies share a similar premise (adults manipulating the death of teenagers), Drew Goddard’s film is the better popcorn film.

Make no mistake, however, that THE HUNGER GAMES is the better movie and a brilliant film.