News for today's 2018

R.I.P.D.: D.O.A.

10:36 AM Tukiyooo 0

<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><b><i>R.I.P.D.</i> </b></span></span></span></span></span></span></span><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><b>(2013) • <a href="http://trailers.apple.com/trailers/universal/ripd/" style="color: #27a9c5; text-decoration: none;">View trailer</a></b></span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><b> </b></span><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><br /></span><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><b>Two stars. Rating: PG-13, for relentless fantasy violence, sexual candor, mild sensuality and some profanity</b></span><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><br /></span></span></span></span></span><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><b><span class="Apple-style-span" style="font-weight: normal;"><b>By <a href="http://www.blogger.com/profile/12885694730612878577" style="color: #27a9c5; text-decoration: none;">Derrick Bang</a></b></span></b></span></span></span></span></span><br /><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br /></span>            <br /><div class="MsoNormalCxSpFirst"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This film is saddled with a salad bar script.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Start with a heaping helping from the big bowl (<i style="mso-bidi-font-style: normal;">Men in Black</i>), add some variety from the mid-sized tubs (<i style="mso-bidi-font-style: normal;">Ghostbusters</i>and others), top off with some dressing and a pinch of seasoning swiped from even more fantasy predecessors, and you’ve got a movie.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoSRlGOk61jq0kWEzRoLP4WcdNeiZD1WpwJwzvlsCrR3ChJiPJWzr90oGsc5rKhIHH9JCm-h_czhmvj0gMKriZmMq44NsI9HtM_KTVjCco5mf7ygN0Ltwcn_Il1wi1B-x9H8F3aPdqAFM/s1600/RIPD+blog.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoSRlGOk61jq0kWEzRoLP4WcdNeiZD1WpwJwzvlsCrR3ChJiPJWzr90oGsc5rKhIHH9JCm-h_czhmvj0gMKriZmMq44NsI9HtM_KTVjCco5mf7ygN0Ltwcn_Il1wi1B-x9H8F3aPdqAFM/s400/RIPD+blog.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: xx-small;">While new R.I.P.D. recruit Nick (Ryan Reynolds, center) watches from the background,<br />veteran lawman Roy (Jeff Bridges, right) and fer-shur bad guy Bobby (Kevin Bacon) try<br />to determine who can out-glare the other. Honestly, that's one of the more genuinely<br />entertaining moments in this lamentable misfire.</span></td></tr></tbody></table><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Or that may have been the theory, anyway. I call it leftovers. Stale leftovers.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Writers Phil Hay, Matt Manfredi and David Dobkin haven’t an original idea between them; everything here is begged, borrowed or stolen from other sources (some better, some ... just familiar). The premise may have started with Peter M. Lenkov’s cheeky Dark Horse comic book series, which ran for four issues back in 1999, but it turned into something of a derivative mess en route to the big screen.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">And while <i style="mso-bidi-font-style: normal;">R.I.P.D.</i> would be an unsatisfying film under any circumstances, it’s particularly tiresome during a summer laden with similarly overblown, city-leveling action fantasies. The result, for the viewer, is a serious case of Been There, Endured That.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">If Ryan Reynolds isn’t careful, he’ll squander his 15 minutes of fame. Between this and 2011’s <i style="mso-bidi-font-style: normal;">Green Lantern</i>, he’ll get a reputation for destroying mid-range comic book franchises.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">At a scant 96 minutes, <i style="mso-bidi-font-style: normal;">R.I.P.D.</i> certainly doesn’t linger, but director Robert Schwentke’s feverish pace borders on the ridiculous. He and editor Mark Helfrich have orchestrated a film that feels as if it’s on Benzedrine; everything comes fast and furious, the rat-a-tat cutting as breathless and frantic as <i style="mso-bidi-font-style: normal;">Crank</i> or <i style="mso-bidi-font-style: normal;">Run Lola Run</i>. But while atmospheric frenzy may have been a solid stylistic choice with those two flicks, here it’s just another annoying affectation ... and something else cribbed along the way.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Actually, Schwentke misses no opportunity to be irritating. He even opens his film with a fleeting, action-laced flash-forward, and then employs a brief voice-over to wind the clock back a few days, to the story’s somewhat quieter origins. <o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">That move is the first refuge of a nervous director who worries that he can’t hold an audience without employing tactics, and it smells of panicked, eleventh-hour tinkering. Voice-over isn’t used again — a telling sign — and we also wind up watching that opening sequence again, when the narrative catches up to it. Déjà vu, anyone?<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I’d be inclined to write this flick off as a total loss, but Jeff Bridges is too entertaining to dismiss; he makes the viewing experience genuinely worthwhile. Which — as is the case with <i style="mso-bidi-font-style: normal;">RED 2</i>, also opening today — explains why stars deserve their salaries.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Boston cop Nick Walker (Reynolds) begins the last day of his life by cuddling Julia (Stephanie Szostak), the wife he adores, and who adores him in return. She thanks him for the new little fruit tree in their back yard, unaware that Nick concealed some contraband beneath the root ball, when he planted the tree late the previous evening, in order to surprise her.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><a name='more'></a><br />  <div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">But Nick has second thoughts about the assorted chunks of gold that he and partner Bobby Hayes (Kevin Bacon), ah, “liberated” from a scummy drug lord the previous day. Nick tells Bobby that he intends to file the gold as evidence, as he should have done in the first place. Despite Nick’s assurances to the contrary, Bobby can’t take the chance that Nick will implicate him, as well; during a weapons-blazing skirmish a few hours later, Bobby waits for the right moment to blast his partner to Kingdom Come.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Except, in Nick’s case, his ascent toward heaven in a funnel of light (hello, <i style="mso-bidi-font-style: normal;">This Is the End</i>) is interrupted when he winds up in a sterile examination room (<i style="mso-bidi-font-style: normal;">Men in Black</i>), with a crisply dressed Proctor (Mary-Louise Parker) regarding him expectantly. This, then, is Nick’s introduction to the celestial Rest In Peace Department, tasked with identifying, locating and incarcerating — or terminating — the departed nasty souls (“Dead-O’s”) who should have gone straight to Hell, but somehow managed to extend their stay on Earth’s mortal plain.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">At least, I <i style="mso-bidi-font-style: normal;">think</i> that’s why the Dead-O’s hang around. This film’s clumsy script never bothers to discuss that detail, just as it never explains why Nick has been tagged for R.I.P.D. duty. Initially, it seems as if he’s being “punished” with this 100-year assignment in a sort of constabulary Purgatory ... but why, in that case (as Proctor explains), would his new colleagues be “history’s greatest police officers”? Surely such dedicated cops wouldn’t <i style="mso-bidi-font-style: normal;">all</i> be stuck in Purgatory. <o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">More to the point, if Proctor and her unseen bosses upstairs in Eternal Affairs know absolutely everything about Nick, as is made clear, wouldn’t they also know about his change of heart regarding the gold stash — apparently the one “bad” move in an otherwise exemplary career — and recognize that he is, in fact, on the side of the angels? So he should have been granted access to Heaven in the first place?<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This film is littered with similar narrative inconsistencies, and they’re all annoying. Oh, and here’s a big one: Based on what we learn later, why would Bobby have left <i style="mso-bidi-font-style: normal;">any</i> of that gold in Nick’s possession?<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Sloppy, sloppy, sloppy.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">As the newbie, Nick is assigned to partner veteran lawman Roy Pulsifer (Bridges), a 19th century sheriff in the Wyatt Earp mold, who shoots first and asks questions later. Access to our workaday realm, at least for the Boston branch of the R.I.P.D., is granted via the back room of a somnambulant VCR repair shop: a direct lift from Del Floria’s tailor shop, in television’s <i style="mso-bidi-font-style: normal;">Man from</i> <i style="mso-bidi-font-style: normal;">UNCLE</i>.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Rounding up Dead-O’s generally is a standard procedure that first involves penetrating their human disguises (<i style="mso-bidi-font-style: normal;">Men in Black</i> again), made easy with the application of the tandoori spices prevalent in Indian cuisine. That sight gag is a minor giggle, since it reveals the undead spirit in all its putrescent, body-mangled glory.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Then, if the Dead-O is unwilling to come along peacefully, it can be snuffed into vapor via the special bullets in R.I.P.D. weapons, which emit a burst that strongly resembles the meson particle ray from a <i style="mso-bidi-font-style: normal;">Ghostbusters</i>proton gun.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Oh, and in order to do their work without being detected by rank-and-file Earth civilians, R.I.P.D. officers are granted “identities” that make them look like somebody else (a note from <i style="mso-bidi-font-style: normal;">Heaven Can Wait</i>). Roy’s avatar is a hot supermodel babe (Marisa Miller), while Nick is stuck looking like an elderly Chinese gentleman (the always delightful James Hong). <o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Their weapons, in turn, appear (respectively) as harmless hair dryers and bananas ... although Schwentke cuts those sight gags so abruptly, that we scarcely have time to notice.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">So yes, some of this film’s running bits are reasonably amusing, as is the banter between the frustrated Nick and the gruffly condescending Roy. Indeed, Bridges plays this cowpoke-out-of-time to the hilt, his twinkling eyes and often bemused expression put to excellent use as the cranky Roy complains about losing his favorite hat, or laments the rather ghastly way in which his human life came to and end, back in the day.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This might have been a better film, had we been able to spend more time with routine Dead-O trackdowns, and the developing bond between Nick and Roy. But Schwentke and his inept scripters can’t wait to rush into their story’s central Big, Bad Catastrophe, which (naturally) involves leveling great chunks of the surrounding metropolis, much as we’ve recently seen in <i style="mso-bidi-font-style: normal;">Iron Man 3</i>, and <i style="mso-bidi-font-style: normal;">Star Trek Into Darkness</i>, and <i style="mso-bidi-font-style: normal;">Fast & Furious 6</i>, and <i style="mso-bidi-font-style: normal;">Man of Steel</i>, and <i style="mso-bidi-font-style: normal;">White House Down</i>, and <i style="mso-bidi-font-style: normal;">Pacific Rim</i>, and ... you get the idea.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I’m simply exhausted. <i style="mso-bidi-font-style: normal;">Enough</i>, already.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Bridges’ charm and Parker’s snarky sass aren’t enough to keep this leaky ship afloat, and Reynolds brings very little to the party. Bacon makes a great villain, chewing up the scenery with a panache that this film could use more of, while Szostak makes good eye-candy as the Sexiest Wife Of All Time.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Sure, visual effects supervisor Mark Hawker’s work is polished and convincing, as are Thomas Nellen’s various Dead-O makeup effects. No doubt about it: Plenty of money was thrown onto the screen. But that’s the point; it was hurled like spaghetti onto a wall, rather than applied artfully or logically.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">We cannot get emotionally involved without a rational (and consistent!) script, or characters we actually care about, and this film offers neither. Its Rest in Peace Department is no more than random pieces that fail to connect or engage.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Bridges deserved better.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">And so do we.</span><span class="Apple-style-span" style="font-family: 'Times New Roman';"><o:p></o:p></span></span></div>

R.I.P.D. (2013) • View trailer Two stars. Rating: PG-13, for relentless fantasy violence, sexual candor, mild sensuality and some profanityBy Derrick Bang 0 false 18 pt 18 pt 0 0 false false false /* Sty…

RED 2: Twice the goofiness

1:00 AM Tukiyooo 0

<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><b><i>RED 2</i> </b></span></span></span></span></span></span></span><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><b>(2013) • <a href="http://trailers.apple.com/trailers/summit/red2/" style="color: #27a9c5; text-decoration: none;">View trailer</a></b></span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><b> </b></span><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><br /></span><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><b>3.5 stars. Rating: PG-13, for constant action and violence, frenetic gunplay and fleeting profanity</b></span><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><br /></span></span></span></span></span><span class="Apple-style-span" style="color: #5e5e5e; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><b><span class="Apple-style-span" style="font-weight: normal;"><b>By <a href="http://www.blogger.com/profile/12885694730612878577" style="color: #27a9c5; text-decoration: none;">Derrick Bang</a></b></span></b></span></span></span></span></span><br /><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br /></span>            <br /><div class="MsoNormalCxSpFirst"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This one’s a triumph of star power over script shortcomings.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><i style="mso-bidi-font-style: normal;"><span style="font-weight: normal;">RED 2</span></i><span style="font-weight: normal;"> doesn’t even try for logic or verisimilitude; it’s a globe-trotting, live-action cartoon that does little but place its characters into improbable situations that prompt wry one-liners from the seasoned cast.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiE2G56Ynrz_BI7WqEtvUDyf2KI0NQ0UUGXGvQOxpvVRfdqrKEm-R00gPjg378HtAdZg6ayZTbKWvlTFUZA3cZVHeSNI_DGVT4UIquUzpj22P9_rar9yWRnijlsWcFpk7IXw0YOFamNOak/s1600/Red+2+blog.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiE2G56Ynrz_BI7WqEtvUDyf2KI0NQ0UUGXGvQOxpvVRfdqrKEm-R00gPjg378HtAdZg6ayZTbKWvlTFUZA3cZVHeSNI_DGVT4UIquUzpj22P9_rar9yWRnijlsWcFpk7IXw0YOFamNOak/s400/Red+2+blog.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: xx-small;">Having arrived in Moscow, Sarah (Mary-Louise Parker, center) is annoyed to discover<br />that boyfriend Frank (Bruce Willis) and Russian agent Katja (Catherine Zeta-Jones)<br />have some history ... and that Katja seems eager to resume their studies.</span></td></tr></tbody></table><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">In most cases, that’s good enough ... because when the cast is this polished, and their comic timing so well established, we can’t help enjoying the result. Scripters Jon and Erich Hoeber have strayed even further afield from the original graphic novel by Warren Ellis and Cully Hamner, but that really doesn’t matter. Films of this sort may be no more than a guilty pleasure, but there’s no denying the entertainment factor.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I’m sure 2010’s <i style="mso-bidi-font-style: normal;"><a href="http://derrickbang.blogspot.com/2010/10/red-risible-energetic-and-delightful.html">RED</a></i> was envisioned as a one-off, but the global box-office must have been a pleasant surprise ... and we all know how Hollywood operates. On top of which, it probably wasn’t hard to persuade Bruce Willis, John Malkovich and Helen Mirren to reprise their roles as aging former spies — RED stands for “retired, extremely dangerous” — who are granted yet another chance to show up their condescending younger colleagues.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Hoeber and Hoeber have reprised their scripting chores, but director Dean Parisot is a series newcomer, taking over for Robert Schwentke. It’s a good trade; Parisot helmed 1999’s cheeky sci-fi spoof, <i style="mso-bidi-font-style: normal;">Galaxy Quest</i>, so he clearly understands the tone required by this equally snarky franchise.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Having survived the events of their previous adventure, veteran spy Frank Moses (Willis) and girlfriend Sarah Ross (Mary-Louise Parker) are attempting to solidify their unlikely relationship. They’re crazy about each other, but that doesn’t seem to be enough; the protective Frank wants to ensure that Sarah remains out of harm’s way — rather difficult, given his history — while she pouts over the prospect of missing another dose of dangerous fun.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Be advised: Parker has one of the best pouts in the business. Parisot clearly understands the power of her stricken expressions, and finds ample opportunity to showcase them.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Alas, Frank isn’t destined for a quiet retirement. Paranoid best friend Marvin Boggs (Malkovich) barely has time to deliver a warning, before being blown up by Forces Unknown. Moments later, Frank is snatched by U.S. black ops thugs operating under orders from the malevolent Jack Horton (Neal McDonough, making the most of his deliciously nasty bad-guy role). Somehow, these events have something to do with a next-gen weapon code-named Nightshade: a remnant from Frank and Marvin’s Cold War past.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><a name='more'></a><br /><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Frank manages to escape a fate worse than death, thanks to the timely intervention of Marvin, who merely faked his own demise as a distraction. (Come on; you didn’t expect Malkovich to check out in the first five minutes, did you?) Now well and truly vexed, Horton issues a termination order to contract killer Han Cho Bai (Byung Hun Lee), the “best in the world,” who cheerfully accepts this opportunity to settle his own old score with Frank.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Worse yet, our friends across the pond also get involved when MI6 instructs deadly sharpshooter Victoria (Mirren) to assassinate her former colleagues. The reason? Nightshade has been deemed a weapon of mass destruction, and Horton’s pesky U.S. colleagues have branded Frank and Marvin as terrorists.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Some days, it just doesn’t pay to get out of bed...<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Subsequent skirmishes take Frank, Marvin and Sarah overseas to London, Paris and Moscow, along the way linking up with former Russian adversaries-turned-colleagues Ivan (Brian Cox) and Katja (Catherine Zeta-Jones). The latter’s presence comes as an unpleasant surprise to Sarah, who is further irritated by the realization that Katja and Frank once were An Item.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">But revenge is its own reward, and the overly enthusiastic — if aggressively foolish — Sarah will find plenty of opportunities to ignite jealousy’s green fire in Frank’s eyes.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">All clues eventually lead to a befuddled scientist named Edward Bailey (Anthony Hopkins), locked away for more than three decades under an ICE directive (“Incarcerate: Cannot exterminate”).<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">But the Nightshade plot, <i style="mso-bidi-font-style: normal;">per se</i>, is little more than a Hitchcockian MacGuffin: stuff and nonsense that serves merely to propel our characters from one ridiculous event to the next. Thus, our heroes drive crazily through the streets of Paris while trying to catch a wine-loving French spy known only as “The Frog” (David Thewlis), then attempt to break into a secret vault located beneath the Kremlin, then engineer an escape from a secret prison within the Tower of London, and <i style="mso-bidi-font-style: normal;">then</i>— for good measure — try to figure out how to wreak havoc within London’s Iranian Embassy.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">On top of which, at every step of the way, the increasingly furious Han shows up again, leveling buildings and crippling various police-types while trying to ace Frank for good. Not since Burt Kwouk’s Cato stalked Peter Sellers’ Inspector Clouseau in the <i style="mso-bidi-font-style: normal;">Pink Panther</i> series, has an adversary so relentlessly pursued — and failed to finish off — a target.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">One scarcely has time to catch one’s breath, which is precisely the point. As long as Parisot and editor Don Zimmerman keep things racing along, we don’t have time to question the ludicrous plot holes large enough to fly Han’s private plane through.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">No matter: Everything is designed solely to encourage witty sniping between our leads, along with ample opportunities to juxtapose their age and assumed frailty, against the supposedly superior younger adversaries who pop up.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Willis and Parker maintain a steady level of mischievous banter, aiming for the wry sophistication delivered by classic film couples such as William Powell and Myrna Loy, and Spencer Tracy and Katharine Hepburn. Hoeber and Hoeber can’t always deliver dialogue quite that tart, but Willis gets plenty of mileage from Frank’s nervous, long-suffering worries over Sarah’s safety, while Parker blithely blunders from one hazardous scenario to another. Her giggly excitement is just as much fun as her wounded sulking.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Mirren does her own sulking, albeit more quietly, every time Victoria is confronted with some young snot who fails to appreciate her talents. The delight of Mirren’s performance comes from the way she sends up so many of her previous oh-so-serious roles, particularly one sequence where she gets to don a queen’s crown again.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Malkovich’s Marvin is funny merely by appearance, his daft clothes sense just as lunatic as his bemused double-takes. Malkovich is more of a goofball this time out, all traces of Marvin’s occasional bursts of sophistication having been left behind in the first film.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Lee delivers plenty of slick martial-arts moves as the exasperated Han, and Thewlis is a hoot as the deceptively mild Frog. Katja, alas, suffers from insufficient character development, even by this film’s flimsy standards; Zeta-Jones does little but purr like a Russian kitten.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Hopkins, as always, is a revelation, his take on Bailey fascinating in every respect. Hopkins may have established a new template for the “absent-minded professor” archetype, while (of course!) layering this performance with his rather unique approach to this intriguing character.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Alan Silvestri delivers an appropriately rousing orchestral score, while production designer Jim Clay has plenty of fun with the various locales. (One hopes the Kremlin isn’t easily accessible from an adjacent pizza joint, in real life.)<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Granted, <i style="mso-bidi-font-style: normal;">RED 2</i> is little more than empty calories: enjoyed today, forgotten tomorrow. But I suspect this film will enjoy an active home-video afterlife; it’ll be hard to resist spending more time with a seasoned cast having so much fun. And since <i style="mso-bidi-font-style: normal;">RED 3</i> already has been announced — pending this initial sequel’s box-office results — we likely haven’t seen the last of Frank, Marvin, Victoria and Sarah.<o:p></o:p></span></span></div><div class="MsoNormalCxSpMiddle"><br /></div><div class="MsoNormalCxSpMiddle"><span style="font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Fine by me.</span><span class="Apple-style-span" style="font-family: 'Times New Roman';"><o:p></o:p></span></span></div>

2013 action Anthony Hopkins Bruce Willis Byung-hun Lee Catherine Zeta-Jones David Thewlis Helen Mirren John Malkovich Mary-Louise Parker Neal McDonough Sequel Series Spy film RED 2: Twice the goofiness

RED 2 (2013) • View trailer 3.5 stars. Rating: PG-13, for constant action and violence, frenetic gunplay and fleeting profanityBy Derrick Bang 0 false 18 pt 18 pt 0 0 false false false /* Style Definitio…

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RED 2: Twice the goofiness

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