Tag Archives: Sylvester Stallone

Bullet to the Head (2013, Walter Hill)

Bullet to the Head feels a little like an eighties buddy action movie. Between Sylvester Stallone in the lead and Walter Hill directing, it should feel more like one. But Stallone plays this one mature. He might not be playing his actual age (probably sixty-five at the time of filming), but he’s definitely supposed to be older. The film has Stallone narrating like it’s a noir–it’s not–and nicely uses pictures of him at younger ages as various mug shots.

Sarah Shahi plays his adult daughter, so there’s that maturity again. The relationship between Stallone and Shahi, mostly one or two of their scenes, is Bullet at its most sublime.

Where the film goes off the rails is Hill. The direction feels like generic modern action. Sure, the New Orleans locations give the picture some personality, but not enough to compensate for the lack of directorial presence.

While it resembles the buddy action movie genre, Bullet doesn’t actually belong. Stallone’s a hit man, his sidekick’s a moronic cop (played by Sung Kang). Kang’s bland but not unlikable; Stallone’s so mean it earns Kang sympathy. Stallone’s more likable because Kang’s an idiot.

And then there’s the jokes. The best writing in Bullet are Stallone’s Asian jokes. The one liners are leagues more inventive than anything else in the film.

As far as the supporting performances… Jason Momoa and Jon Seda stand out. Shahi’s undercooked.

Bullet’s fast, loud and not terrible. It could be better, but doesn’t need to be.

CREDITS

Directed by Walter Hill; screenplay by Alessandro Camon, based on the comic book by Matz and Colin Wilson; director of photography, Lloyd Ahern II; edited by Timothy Alverson; music by Steve Mazzaro; production designer, Toby Corbett; produced by Alfred Gough, Miles Millar, Alexandra Milchan and Kevin King Templeton; released by Warner Bros.

Starring Sylvester Stallone (James Bonomo), Sung Kang (Taylor Kwon), Sarah Shahi (Lisa Bonomo), Adewale Akinnuoye-Agbaje (Robert Nkomo Morel), Jason Momoa (Keegan), Jon Seda (Louis Blanchard), Holt McCallany (Hank Greely), Dane Rhodes (Lt. Lebreton), Marcus Lyle Brown (Detective Towne), Brian Van Holt (Ronnie Earl) and Christian Slater (Marcus Baptiste).


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The Specialist (1994, Luis Llosa)

Technically speaking, the best thing about The Specialist is probably John Barry’s score. Except he ripped off his James Bond scores and threw in some of his Body Heat music. Neither mood fits The Specialist, which isn’t glamorous enough to be Bond and isn’t sexy. I would have liked to say “isn’t sexy enough to be Body Heat” but The Specialist just plain isn’t sexy.

It’s supposed to be sexy, given how much emphasis director Llosa puts on stars Sylvester Stallone and Sharon Stone in various stages of undress (not to mention the two carry on some painful phone flirting), but it isn’t. While Llosa’s direction is lame and both Stallone and Stone are bad (Stone’s worse), Llosa simply doesn’t realize the picture right.

It might be sexy if it were about a broken-down ex-CIA assassin and a damaged woman who’s prostituting herself to avenge her dead parents (long story). But The Specialist treats Stallone and Stone as megastars, not people. The scenes where James Woods–in a great performance as the bad guy–berates her and Stone actually gets to show emotion, those scenes almost work. They suggest a film worthy of a good John Barry knock-off score.

Eric Roberts costars as her target and he’s nearly good. Alexandra Seros’s script is too laughable for anyone (save Woods, who mixes insanity and mocking contempt) to actually be good.

As for Rod Steiger’s Cuban gangster? He’d be funny if he weren’t such offensively bad.

The Specialist‘s awful.

CREDITS

Directed by Luis Llosa; screenplay by Alexandra Seros, suggested by novels by John Shirley; director of photography, Jeffrey L. Kimball; edited by Jack Hofstra; music by John Barry; production designer, Walter P. Martishius; produced by Jerry Weintraub; released by Warner Bros.

Starring Sylvester Stallone (Ray Quick), Sharon Stone (May Munro), James Woods (Ned Trent), Rod Steiger (Joe Leon) and Eric Roberts (Tomas Leon).


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D-Tox (2002, Jim Gillespie)

D-Tox is a messy film with way too high a concept. Sylvester Stallone–who’s good when he’s actually in the film, which isn’t much–is a FBI agent who becomes a drunk following a bad result in a big case. He ends up in a rehab for cops. It’s in an old missile silo (or something along those lines) in the middle of nowhere. And guess what… there’s a serial killer on the loose.

The supporting cast is full of people who have seen better roles yet still manage to turn in good performances. Charles S. Dutton, Polly Walker, Courtney B. Vance, Robert Patrick, Robert Prosky, Dina Meyer, Tom Berenger. All of them are fine. Some of them are great–Patrick in particular. Yet D-Tox doesn’t have anything for them to do because it’s Ten Little Indians, but it only runs ninety-some minutes and there’s a bulky opening to turn Stallone into a drunk.

Like I said, messy.

There are some bad performances too. Christopher Fulford, Stephen Lang, Jeffrey Wright. Kris Kristofferson might be better if his character weren’t a complete idiot (he hires incompetent repairmen for his isolated missile silo for starters).

There’s some actual suspense involving the bad guy’s identity, but director Gillespie can’t figure out how to pace it. When he gets to the finish, the big action scene, he flops. He can’t even direct a couple guys punching. Stallone should’ve stepped in.

Decent photography from Dean Semler helps.

It’s bad, but still watchable.

CREDITS

Directed by Jim Gillespie; screenplay by Ron L. Brinkerhoff, based on a novel by Howard Swindle; director of photography, Dean Semler; edited by Timothy Alverson and Steve Mirkovich; music by John Powell; production designer, Gary Wissner; produced by Karen Kehela Sherwood and Ric Kidney; released by DEJ Productions.

Starring Sylvester Stallone (Jake Malloy), Charles S. Dutton (Hendricks), Polly Walker (Jenny), Kris Kristofferson (Doc), Mif (Brandon), Christopher Fulford (Slater), Jeffrey Wright (Jaworski), Tom Berenger (Hank), Stephen Lang (Jack Bennett), Alan C. Peterson (Gilbert), Hrothgar Mathews (Manny), Angela Alvarado (Lopez), Robert Prosky (McKenzie), Robert Patrick (Noah), Courtney B. Vance (Reverend Jones), Sean Patrick Flanery (Conner), Tim Henry (Weeks), Dina Meyer (Mary), Rance Howard (Geezer), Frank Pellegrino (Jimmy) and James Kidnie (Red).


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The Expendables 2 (2012, Simon West)

The Expendables 2 plays a lot like an eighties “G.I. Joe” toy commercial. The vehicles all fire missiles and have detachable smaller vehicles. As opposed to having absurdly named characters with silly themes (there’s no “ninja Expendable”), the characters instead have silly names and amusing personalities. The script, from Sylvester Stallone and Richard Wenk, throws realism out the window, gets way too meta for its own good (the Terminator jokes for Arnold Schwarzenegger are immediately tiresome), but a lot of the character work is good.

The best performances are from the returning principals–Stallone, Jason Statham, Randy Couture, Terry Crews and Dolph Lundgren. While Stallone only has one good scene–opposite new (and female) Expendable Nan Yu–and Statham’s just reliable, Couture, Crews and Lundgren are hilarious. Their little asides, while absurd, often make the movie.

As for the rest… Schwarzenegger is terrible, Chuck Norris is an unbelievably bad actor (one imagines Lee Strasberg turning in his grave at every line), Jean-Claude Van Damme’s villainous (doubly, since his name is “Vilain”) but disposable and Bruce Willis is okay if slightly embarrassed.

In supporting roles, Liam Hemsworth’s awful as another new Expendable but Scott Adkins’s decent as bad guy.

Shelly Johnson’s cinematography is weak, as is Bryan Tyler’s music, but a lot of Expendables 2 is passable. Even if it does heavily rip off Indiana Jones and the Temple of Doom.

Simon West’s action is intense but cartoonish, which also describes the entire project.

Better plotting would’ve helped a bunch.

CREDITS

Directed by Simon West; screenplay by Richard Wenk and Sylvester Stallone, based on a story by Ken Kaufman, David Agosto and Wenk and characters created by Dave Callaham; director of photography, Shelly Johnson; edited by Todd E. Miller; music by Brian Tyler; production designer, Paul Cross; produced by Danny Lerner, Les Weldon, Basil Iwanyk, John Thompson, Avi Lerner and Kevin King Templeton; released by Lionsgate.

Starring Sylvester Stallone (Barney Ross), Jason Statham (Lee Christmas), Jet Li (Yin Yang), Dolph Lundgren (Gunner Jensen), Chuck Norris (Booker), Jean-Claude Van Damme (Vilain), Bruce Willis (Church), Arnold Schwarzenegger (Trench), Terry Crews (Hale Caesar), Randy Couture (Toll Road), Liam Hemsworth (Billy the Kid), Scott Adkins (Hector), Nan Yu (Maggie), Amanda Ooms (Pilar) and Charisma Carpenter (Lacy).


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The Expendables (2010, Sylvester Stallone), the director’s cut

Ah, the utterly useless director’s cut. Thank you, DVD.

Having only seen The Expendables once, I’m not entirely sure what Stallone added for this version. The opening titles seem long and awkward (there’s now a montage introducing the team, which is even sillier since most of them disappear for the majority of the run time) and the big action scene has new music. Neither addition makes any significant difference, though there do seem to be some additional moments with the cast and the cast is what makes The Expendables work.

Most of the film’s performances are good. Nearly all of them actually, which is startling given much of the cast is traditionally laughable. Even the wrestlers are all right, though having Steve Austin knock out a woman probably makes him a lot more menacing. Randy Couture has a fun, against type monologue and Gary Daniels is good in his little part.

But the film’s best performance is, shockingly, Dolph Lundgren. Lundgren’s drug-addled behemoth is constantly frightening, but also somewhat touching and amusing. Jet Li’s appealing. Eric Roberts and Jason Statham, no surprise, are both excellent.

Stallone, other than showing off his retirement age physique, doesn’t do much. But he’s fine.

Mickey Rourke is amazing. He does more to make The Expendables “real” than anything else. Though even he wouldn’t be able to combat Jeffrey L. Kimball’s incompetent photography.

The only bad performance is David Zayas, who’s awful.

The Expendables is sometimes too long, but the acting makes it worthwhile.

CREDITS

Directed by Sylvester Stallone; screenplay by Dave Callaham and Stallone, based on a story by Callaham; director of photography, Jeffrey L. Kimball; edited by Ken Blackwell and Paul Harb; music by Brian Tyler; production designer, Franco-Giacomo Carbone; produced by Avi Lerner, John Thompson and Kevin King Templeton; released by Lionsgate.

Starring Sylvester Stallone (Barney Ross), Jason Statham (Lee Christmas), Jet Li (Yin Yang), Dolph Lundgren (Gunner Jensen), Eric Roberts (James Munroe), Randy Couture (Toll Road), Steve Austin (Paine), David Zayas (General Garza), Giselle Itié (Sandra), Charisma Carpenter (Lacy), Gary Daniels (the Brit), Terry Crews (Hale Caesar) and Mickey Rourke (Tool).


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Cliffhanger (1993, Renny Harlin)

Oh, Trevor Jones did the music. I was going to say it sounded like some really good Hans Zimmer (with some plagiarism of Alan Silvestri’s Predator score), but Jones does good work so I guess it’s not a surprise.

Cliffhanger is such a technical marvel it’s hard to get upset about the problems (writing and acting). Harlin’s got a lot of composite shots here and Alex Thomson shooting or not, the technology simply isn’t there for them to look right. But the concepts are all great. Outside the composites, everything is perfect. There’s some astounding stunt work in the film.

Frank J. Urioste’s editing is great, as is John Vallone’s production design.

So what’s wrong with it?

It’s stupid. It’s really, really stupid and it has constantly laughable dialogue.

The best actors in the movie are barely in it (Paul Winfield and Zach Grenier) and even Stallone–who can manage this kind of tripe–gets overshadowed by the villains. John Lithgow plays the lead villain, with a terrible British accent, and basically does an Anthony Hopkins impersonation. However, given Cliffhanger‘s release date, it’s like Hopkins saw the film and just started mimicking Lithgow’s turn in this one.

Janine Turner and Vyto Ruginis have such bad dialogue it’s impossible to gauge their performances. Villains Rex Linn, Leon and Craig Fairbrass are all atrocious. I suppose Caroline Goodall almost gives an okay bad performance.

It’s a shame Cliffhanger has to be so bad, just for all the technical pluses… but it’s inane.

CREDITS

Directed by Renny Harlin; screenplay by Michael France and Sylvester Stallone, based on a story by France and a premise by John Long; director of photography, Alex Thomson; edited by Frank J. Urioste; music by Trevor Jones; production designer, John Vallone; produced by Harlin and Alan Marshall; released by Tri-Star Pictures.

Starring Sylvester Stallone (Gabe Walker), John Lithgow (Eric Qualen), Michael Rooker (Hal Tucker), Janine Turner (Jessie Deighan), Rex Linn (Richard Travers), Caroline Goodall (Kristel), Leon (Kynette), Craig Fairbrass (Delmar), Gregory Scott Cummins (Ryan), Denis Forest (Heldon), Michelle Joyner (Sarah), Max Perlich (Evan), Paul Winfield (Walter Wright), Ralph Waite (Frank), Trey Brownell (Brett), Zach Grenier (Davis) and Vyto Ruginis (Matheson).


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The Expendables (2010, Sylvester Stallone)

The Expendables is surprisingly good. I’m not sure Stallone would admit it, but it owes more to Soderbergh’s Ocean’s series than it does any of Stallone’s popular action movies. Apparently, following Rocky Balboa and Rambo, Stallone decided to direct actors, something I’m not sure he’s ever done before. But he gets some shockingly good performances here.

The most obvious is Mickey Rourke, whose role has an extended cameo size to it, but gives Rourke this amazing monologue. The writing has its weak points during, but Rourke’s delivery creates this transcendent moment. As with most good Rourke performances, large or small, it alone makes The Expendables worthwhile.

But then Stallone gives Dolph Lundgren the meatiest role he’s ever had–a junkie mercenary–and Lundgren nails it. It’s simply a great performance. While he’s on screen, it’s just astounding to see this slow-moving Swedish hulk deliver such a textured performance.

Lots of other good performances–Eric Roberts, Terry Crews, that Gary Daniels guy who’s never had a theatrical release is a great villain, and Randy Couture, who wrestles or something… he’s fine.

Jason Statham is solid (he and Stallone are good together when the movie’s in its buddy movie stage) and Jet Li has some amusing moments.

Only Steve Austin gives a completely worthless performance, but it’s passable as he’s usually silent.

Oh… Schwarzenegger. This performance might be his worst, which is quite a statement.

Technically, the film’s a tad under-budgeted for Stallone’s ambitions, but, in the end, it works.

CREDITS

Directed by Sylvester Stallone; screenplay by Dave Callaham and Stallone, based on a story by Callaham; director of photography, Jeffrey L. Kimball; edited by Ken Blackwell and Paul Harb; music by Brian Tyler; production designer, Franco-Giacomo Carbone; produced by Avi Lerner, John Thompson and Kevin King Templeton; released by Lionsgate.

Starring Sylvester Stallone (Barney Ross), Jason Statham (Lee Christmas), Jet Li (Yin Yang), Dolph Lundgren (Gunner Jensen), Eric Roberts (James Munroe), Randy Couture (Toll Road), Steve Austin (Paine), David Zayas (General Garza), Giselle Itié (Sandra), Charisma Carpenter (Lacy), Gary Daniels (the Brit), Terry Crews (Hale Caesar) and Mickey Rourke (Tool).


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Rambo (2008, Sylvester Stallone), the director’s cut

I just went back and reread my response to the theatrical release of Rambo. I haven’t seen it since the theater and, while I could pick out some added scenes (Stallone’s director’s cut, titled John Rambo, runs about ten minutes longer), I couldn’t remember if my problems with the director’s cut are the same as my problems with the theatrical.

They are not. Not entirely.

Stallone’s director’s cut is much more thoughtful. It raises these great human contradictions–for example, a pastor hiring mercenaries to kill brown people to save his white people, white people captured while trying to stop brown people from getting killed.

Rambo‘s still incredibly problematic–this cut doesn’t fix the ludicrously unearned and unexplained end–and raising questions is far better than trying to answer them.

This time through–and this cut through–Stallone’s treatment of the Christian missionaries is, while I’m sure it’s unintentional, rather damning. Julie Benz’s character is a good fundamentalist Christian woman who uses sex (the idea, not the act) to bewitch Stallone. This development is new to this version. Maybe in the spinoff, Benz will run for vice president.

It makes Stallone’s Rambo pathetically attached to this woman who abandons him for her tool of a fiancée (John Schulze).

Most interesting, reading my first response, is the idea Stallone portrays Rambo as an animal thrilled at killing. He doesn’t in this cut. He gives Rambo a soul the whole time, not making him earn it.

Unfortunately, it doesn’t improve the movie.

CREDITS

Directed by Sylvester Stallone; screenplay by Art Monterastelli and Stallone, based on a character created by David Morrell; director of photography, Glen MacPherson; edited by Sean Albertson; music by Brian Tyler; production designer, Franco-Giacomo Carbone; produced by Avi Lerner, Kevin King-Templeton and John Thompson; released by Lionsgate Films.

Starring Sylvester Stallone (John Rambo), Julie Benz (Sarah), Paul Schulze (Burnett), Matthew Marsden (School Boy), Graham McTavish (Lewis) and Tim Kang (En-Joo).


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Rocky IV (1985, Sylvester Stallone)

I rarely worry about how I’m going to get 250 words about a film. Rocky IV probably features 251 words of dialogue. Well, closer to 251 than not, anyway.

Really, what is there to say about this one? Stallone directs it poorly? Stallone substitutes montages and music videos for actual narrative content? It’s a ludicrous proposition from the opening credits, which directly involve the film’s eventual content of the U.S. versus the U.S.S.R. in the boxing ring–except it’s a narrative development, not something the film opens with. So, even though it looks cool (did they use hot air balloons for the boxing gloves) for a while, it’s nonsensical. It’s a reference to something the film’s characters don’t even know about yet, but the viewer would from the theatrical trailer… so it’s titles just for the viewer, which is rather goofy… but Stallone knows (or knew) his audience. They didn’t think.

It’s strange also because of the disjointedness. The beginning is this whole picture about Rocky’s boring eighties lifestyle with cars and robots and Carl Weathers thinking he’s getting old, then it turns into the east versus west thing. The montages don’t start until after Weathers dies.

However, none of that paragraph is to say the opening is good–well acted, directed or written–it’s just a solid narrative. Unlike the rest of the picture, which is a forty-five minute music video with some digressions.

Lots of people enjoy watching Rocky IV, regardless of its quality.

I do not.

CREDITS

Written and directed by Sylvester Stallone; director of photography, Bill Butler; edited by John W. Wheeler and Don Zimmerman; music by Vince DiCola; production designer, Bill Kenney; produced by Robert Chartoff and Irwin Winkler; released by Metro-Goldwyn-Mayer.

Starring Sylvester Stallone (Rocky Balboa), Talia Shire (Adrian), Burt Young (Paulie), Carl Weathers (Apollo Creed), Brigitte Nielsen (Ludmilla Vobet Drago), Tony Burton (Duke), Michael Pataki (Nicoli Koloff), Dolph Lundgren (Captain Ivan Drago) and James Brown as the Godfather of Soul.


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Demolition Man (1993, Marco Brambilla)

Umm. Yeah. Where to start with Demolition Man. Stallone’s really personable in it. It might be his most personable, because the viewer automatically identifies with him as the modern (mostly modern) guy in the strange future.

The real star is Sandra Bullock, whose performance is far from perfect and her character is poorly written, but she’s fun and cute, which is what Sandra Bullock is supposed to be. She’s likable and genial.

Wesley Snipes is bad. He looks good with the blond hair and the contacts, but he doesn’t have enough personality (frighteningly, he’s too much of an actor) to go wild as needed. Also, the script seems to be scared to mention he’s black, which is interesting.

The direction is okay. The real problem is the editing. I’ve never seen such bad editing from Stuart Baird before. Maybe the direction isn’t okay, the composition is okay and the coverage is awful.

Oh, it did shoot in Los Angeles? I figured it was a runaway production, which would explain the lousy production values. The sets are confined and pseudo-grand, like Batman and Robin, which is fine, since Elliot Goldenthal’s score is the same as his Batman scores.

Some of the film feels very solid. Well, maybe only in hindsight. It’s the kind of movie you watch in the middle of the night and fall asleep during and only are awake for the good parts so you think it’s better than it turns out to be on a complete viewing.

CREDITS

Directed by Marco Brambilla; screenplay by Daniel Waters, Robert Reneau and Peter M. Lenkov, based on a story by Lenkov and Reneau; director of photography, Alex Thomson; edited by Stuart Baird; music by Elliot Goldenthal; production designer, David L. Snyder; produced by Joel Silver, Michael Levy and Howard Kazanjian; released by Warner Bros.

Starring Sylvester Stallone (John Spartan), Wesley Snipes (Simon Phoenix), Sandra Bullock (Lt. Lenina Huxley), Nigel Hawthorne (Dr. Raymond Cocteau), Benjamin Bratt (Alfredo Garcia), Bob Gunton (Chief George Earle), Glenn Shadix (Associate Bob), Denis Leary (Edgar Friendly) and Steve Kahan (Captain Healy).


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