Sylvester Stallone
In today's film credits with the names of the actors use only appear at the end. Bad habit! In "Mercenaries - The Expendables," directed by and starring Sylvester Stallone, instead appear as a time at first. There's a reason. This film is not the actor who embodied the character but the character that provides a justification diegetic actor: "Mercenaries" performs the movie icon, and then refers to the name of the plaintiff in the securities has a value Circular stronger than they are normally.
It 's a film body expendable : body combat, body in a race against time, tortured bodies, bodies (of enemies) torn and ripped, and the very meaning of the film is to recover and re-enter the aesthetics of physical confrontation old bodies and faces of the stars marked with flowers in the eighties (Sylvester Stallone, Mickey Rourke , Eric Roberts, Dolph Lundgren, the evergreen Jet Li, plus uncredited Bruce Willis and Arnold Schwarzenegger, and were also called to attend more of the same generation of star-like). It 's a movie that spends athletic effort in the bodies of his performers, vintage men appearing tough to replicate the same numbers of stoicism, fighting and massacre of twenty-five years ago. Or are the greek chorus (Rourke), to be ambiguous representative (Willis) to unabashed villain (Roberts), but always as faces old and nostalgic, iconic faces. Thrown into a film that is a bizarre cross between eighties and contemporaneity of this powerful weapons next to a Rambo knife (or Crocodile Dundee), just as the new bodies of the Action next to the old, the first Ritchie (from Guy Ritchie) Jason Statham next to Stallone. But there is no suggestion in the form of a generational passing of the baton; Statham is still the sidekick , if Stallone is the brain, yet there is no division of tasks between the youngest and the oldest on the floor of physical force.
"I mercenaries "is a sort of time machine in another sense. It 's a nice movie to see why has that same kind of cinema as opposed to any notion of political correctness who was already mad with rage political bigots in the eighties. The basic concept of "mercenaries" is the same as "Rambo 2": the bastards must die. In fact, Stallone & C. make a slaughterhouse amusingly exaggerated the military coup of the imaginary island of Vilena: the balance of power is more or less than one percent but the body count enemy rises to infinity.
Written by Dave Callaham and Sylvester Stallone, the film is crossed by a lot of fun macho dialogue, indeed, hyper-macho with these Spaccamontagne tough as nails growling that seem to speak through the lips closed (Stallone and Statham have just escaped a seaplane flight from a flood of soldiers and Stallone suddenly reverses route. "Let's go back?" "Yes." We want to hurt him? "" So, so bad "). Heroic boasting, shameless irony, Jet Li, who calls for an increase on the grounds that "when I'm hurting the wound is larger, because they are smaller." An irony that reaches the climax with the appearance of Arnold Schwarzenegger, all played - it was unfair to expect - Metacinematografico on the register.
This mix of action and humor fracassone you easily forgive a certain degree of script (because that idiot girl, when taken hostage by the villain that takes you away while exploding around the end of the world, collaborates ran like a hare?). Indeed it must be said that the script is below the average of those of Stallone, still simple but more articulate (for the truth, particularly in the "Rocky"). On the line in this film (+ humor + machismo exaggeration) is still unsurpassed "Commando" (with Schwarzenegger) by Mark Lester.
The real problem lies elsewhere: "Mercenaries" è un film intrinsecamente contraddittorio. Il suo difetto imperdonabile è il montaggio idiota di Ken Blackwell e Paul Harb, i quali sembra che prima di entrare nella cutting room si siano tirati una pista di cocaina. E' un montaggio non da videoclip ma da parodia dei videoclip, frazionato fino all'assurdo, un'accumulazione caotica e offensiva di inquadrature di un secondo: non che delineare l'azione, la offusca (anche il bel kung fu di Jet Li viene totalmente sprecato). Certamente c'è il vantaggio che così diventa più facile inserire un po' di CGI o aiutare la performance di star non giovanissime. Ma resta il fatto che l'azione si risolve in una nebbia dalla quale emergono fissandosi per un attimo sulla retina immagini strong and explosions - as if you browse photos.
course there is some consistency here with the operation of Stallone, who is to build a bridge (it would be emphatic but not wrong to say: throw your body as a bridge) between the eighties and this extreme of the Action. However, there runs between the concept itself, and this assembly, which is a clumsy attempt to appear cool the public eye most naive adolescent - something very public that is useless because of all the less available to the star-like element and embodied by the film's nostalgic Stallone.
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