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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.
Considering its controversial and much talked-about source material, Fifty Shades of Grey – Sam-Taylor Johnson’s adaptation of E.L James’ best-seller – is surprisingly safe, shockingly uninvolved and tediously uninventive for a movie that was supposed to deliver – and show – so, so much more.
The story is centred on a young literature student Anastasia Steele (Johnson) who agrees to step in for her sick roommate, Kate (Mumford), and do the interview with handsome and the mysterious twenty-seven year old billionaire, Christian Grey (Dornan).
The two are quick to connect and it’s pretty clear that both of them are immediately taken by one another; she likes his good-looks and raw aura of masculine intensity and he is intrigued by her innocent beauty and clumsy ways. After being stalked and rescued from a drunken night out Anastasia realises that there is no escape from his peculiar – and intrusive – charms and soon gives into the idea of being seduced by the handsome young tycoon.
Dakota Johnson – the beautiful offspring of actors Melanie Griffith and Don Johnson – is definitely the only success of the entire production. Gutsy, beautiful and surprisingly funny and her innocent-like ways – not to mention her gorgeous baby-blues – and she carries her side of the story relatively well. Unfortunately, the same can’t be said for the handsome Irishman and ex-Calvin Klein underwear model, James Dornan. Physically, he is the perfect casting choice, but his monotonic, almost robotic, delivery is unconvincing and what on paper should be a complex character is never really explored. It’s something that maintains a certain air of mystery, yes, but leaving such little room to explore his motivations isolates the character in a way that doesn’t allow auciences to truly ingest his relationship with Anastasia.
In its adaptation from book to screen, Fifty Shades of Grey never really knows what it wants to be and its lack of drive, focus and identity. Lying somewhere between a romantic comedy and soft porn, the script is as hollow and instead of grabbing the story by its horns and allowing it to dip a little further towards the darkness, it ends up taking a more safer-route, ultimately, boring us all in the process.
In its adaptation from book to screen, Fifty Shades of Grey loses the drive and identity that made the book one of the most divisive best-sellers of the decade. Lying somewhere between a romantic comedy and soft porn, the script fails to embody the book. Granted, said book shocks much more than it incites reflection, but the film even fails on that.
It was just a question of time before E.L James’ fictional smash-hit found its way to the big-screen; few books have stirred as much controversy in recent times. It’s rare that a film adaptation has the potential to better than the book on which it is based – this was the case here and, while it can be argued that it is indeed better, it’s still a less than satisfying viewing experience.
Channelling his inner-Liam Neeson, if you will, multi Oscar-winning actor and occasional humanitarian, Sean Penn, dips his toes into what is a new type of emerging genre: geriaction. While it’s unlikely that Hollywood executives and actors will be using it anytime soon, the term refers to action films starring ‘aging actors’. At 54, Penn is no spring chicken, but the California native is in tip-top shape for Pierre Morel’s surprisingly flavourless and action-less thriller, The Gunman.
The story follows special operative Jim Terrier (Penn); a mercenary stationed in Congo who provides security services for mining operations. During his time there, he meets and falls in love with a humanitarian-aid doctor, Annie (Trinca), who is also there offering medical support for those in need. However, when asked to liquidate the local Minister of Mining by his shady bosses, Cox (Rylance) and Felix (Bardem), Terrier must oblige. Soon after carrying out the hit, he flees the country without as much as a goodbye to Annie.
Eight years later, Jim is once again in Congo and soon becomes the target of an unknown hit squad. Barely making it out of there alive, he makes his way to London in order to seek out his old partners and see if they can help him figure out who is behind the mess. However, Jim’s digging and snooping is not entirely welcome and after finding his way to Annie once more, the wanted couple has no choice but to go on the run together to Barcelona where they hope to come up with a plan to get themselves out of the chaos.
One of the most surprising things about The Gunman is how its final onscreen realisation is nothing like what its trailers suggests. It’s painfully slow, very chatty – the dialogue is filled with political gobbledegook – and, in terms of action, well, there isn’t any. Apart from a couple of shockingly brutal and bloody exchanges, the rest of the story is pretty lifeless and uninspiring. On the upside, the film’s aesthetics – courtesy of cinematographer Flavio Martinez Labiano – is effective and its use of sharp and vibrant imagery adds the much-needed pizzazz to the story.
As for Mr. Penn, he spends most of the time trudging around looking bored, tired and oh yes, shirtless. His broodiness rarely translates into more than just looking plain expressionless. Then again, his stunt work is pretty impressive and there is a certain sense of gravitas that he brings to the table; unfortunately, just not enough energy to make us all care.