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Escape Plan: Sylvester & Arnie Join Forces
Following the roaring success of The Expendables and its unnecessary sequel, Sylvester Stallone and Arnold Schwarzenegger team up for their first ever one-on-one, on-screen matchup in Escape Plan. Directed by Swedish filmmaker, Mikael Hafstrom – the man behind 2007 horror-thriller 1408 and 2005's Derailed – the film, unfortunately, falls short of both its promise and potential.
Ray Breslin (Stallone) is a highly skilful escape artist who specialises in testing the reliability of security systems used in maximum security prisons. As the co-owner of Breslin-Clark, with partner Lester Clark (D'Onofrio), Ray's job entails a few rather unconventional tasks; after gaining access to prisons, he escapes to highlight the security's faults.
His work soon draws attention from the CIA, who are keen to have the expert test a security system in their latest high-tech slammer. The multi-million dollar deal, however, doesn't sit well with Ray's devoted colleagues, Hush (50 Cent) and Abigail (Ryan), who find the whole thing a little suspicious. Despite his partners' hesitations, Ray agrees to the deal and soon finds himself sharing quarters with some of the most dangerous criminals in the world.
Soon after his arrival, and after the meeting with the prison's warden Hobbes (Caviezel), Ray senses that something is wrong; no one seems to know who he is or what he's there to accomplish. Realising that he needs to escape the as soon as possible, Ray befriends Emil Rottmayer (Schwarzenegger) and the duo soon learn that escaping the prison walls is not as easy as they think.
Never ones to shy away from the spotlight, it's surprising to learn that this long-awaited matchup has been in the works for quite some time. Therefore, it's even more surprising that neither actor appears fully connected to their roles. Seemingly set in their ways, both Stallone and Schwarzenegger rely heavily on a repertoire of cheesy one liners and overflowing bravado.
Additionally, almost every scene is shot with extreme close-ups, which proves rather unflattering for the time-worn stars. With very few action scenes, Stallone and Schwarzenegger are given little room to do what they do best. Meanwhile, despite being full of familiar faces, the supporting cast are neglected by the story, instead giving the spotlight to a watered down Sylvester and Arnie.
Escape Plan is filled with recognisable action film traits – but not the good kind. This is a film with a predictable plot, awful dialogue and far too many clichés, whose only potential redeeming features are equally downtrodden.
Tobe Hooper’s Poltergeist can rightly claim to be one of the most successful haunted-house tales ever told and so a reboot of what is probably one of the scariest films of all time makes sense in that money-grabbing Hollywood kind of way. But as with so many reboots, Gil Kenan’s uninspired take on the 1982 classic proves that it’s no easy task.
The story is centred on the Bowens; a family of five who, due to the recent recession, have been forced to downsize their home and move to a more affordable neighbourhood. Having recently lost his job, Eric Bowen (Rockwell) and his wife, Amy (DeWitt) have been struggling to keep up with the mounting debts and finding the perfect home for themselves and their three kids; teenager Kendra (Sharbino), her younger brother, Griffin (Catlett) and their youngest sibling, Maddy (Clements) hasn’t been easy.
Settling on a semi run-down estate in a town where the pricing seemed to be just right, the Bowens are excited to get settled into their new surroundings. However, things soon go bumping in the night and both Griffin and Maddy – the latter of whom doesn’t seem to be at all bothered about making new ‘friends’ in the closet – begin noticing strange occurrences. Griffin is the first to voice his concern, however his parents think that he is just being overly-anxious about his new home – that is until Maddy goes missing only to resurface as a voice inside the family’s television.
Written by David Lindsay-Abaire – see Rabbit Hole – the script stays very faithful to its source material. It’s something to be commended, yes, but the horrors of old just don’t have the same effect as they did back then and this reboot lacks freshness, creativity and that extra little oomph needed to bring it into the 21st century. Subsequently, it’s difficult to assess as to how loyalists to the original will receive the film; on one hand, it stays close to the original, but on the other hand, there’s nothing new – no new angle, no new pull.
Luckily, the acting is solid and everyone involved turns in relatively convincing and connecting performances. One of the most versatile actors working Hollywood right now, Rockwell turns out to be a decent choice for the role of the troubled father and Clements - although, nowhere near as powerful as her predecessor - is creepily endearing.
In the end, though, Poltergeist 2015 is too weak to stand up to the original. One of the things that made the 1982 version the iconic horror it is today is that unnerving atmosphere and the unsettling energy which followed the story from beginning to end. For what it’s worth, Kenan’s keen eye and roaming camerawork manages to keep his audience on the edge of their seats, but the predictable jump-scares only serve to take away from tension.
Arriving fourteen years after the last Jurassic Park entry, the fourth film in the twenty-two-year old franchise is finally here with Trevorrow’s Jurassic World; a thrilling, but flawed, addition to the series that never really recapture the magic of the original, but still manages to excite and serve as a fitting summer blockbuster.
Picking up twenty-two years after the events of Jurassic Park, the story is centred in and around the dinosaur amusement park on Isla Nublar, belonging to billionaire Simon Masrani (Khan), who has taken the idea from the late John Hammond and turned it into a multi-million dollar reality. Responsible for managing the park’s security is rigid operation manager, Claire (Howard), while her impressively knowledgeable colleague – and love interest - Owen (Pratt) is in charge of training the park’s dinosaurs.
As one might expect when playing god, things quickly go wrong when the genetically engineered Indominus Rex – the park’s latest attraction – escapes from its enclosure leaving Simon and his team of soldiers – led by Vic (D’Onofrio) – to fight of the giant monster.
Having spent over a decade in development limbo, there’s a certain amount of satisfaction to be found in the realisation of what, at times, like a pipedream for diehard fans. Though reception has been mixed, Jurassic World proves to be a thrillingly visualised world. The park and all of its bells and whistles – including a petting zoo and a triceratops ride – are designed with careful detailing and the film succeeds in communicating a sense of awe and wonder.
However, in the harsh light of day, the film just doesn’t have the same impact, when considering the fact that the plot isn’t all that fresh – in fact, the skeleton of the story is the same – scientists play god, things go wrong, step forward hero. Granted, the dinosaurs being substantially larger and smarter adds a grandeur to proceedings, their human counterparts aren’t so lucky.
Performances by both Pratt – channelling his inner Indiana Jones – and Howard are solid, however, most of the characters aren’t explored or fleshed out enough to make you care about the outcome, leaving the mass destruction the hub of enjoyment – and it’s simply not enough.
Considered by some quarters to be Spielberg’s biggest contribution to Hollywood, Jurassic Park has a timeless quality about it; a quality that stacks the odds against a successful sequel even more so. This is a top popcorn movie, so to speak, but just lacks the sheer magnitude in ingenuity of the original. But then again, it has broken several box office records.