There’s much to like about “The Expendables,” especially the simple straight-forward plot, all the B-movie mayhem you could possibly ask for, and two unapologetic hours of masculinity – which may be two hours more than we’ve seen in all of the last decade put together.  These boys smoke cigars, drink beer while piloting airplanes, and return us to those glorious pre-Oprah days when stoicism was still a virtue and real men didn’t gush about their inner-emotional lives like 13 year-old girls drunk on Dr. Pepper at a slumber party.  There are also things to dislike, especially that evil shaky-cam which has done more to ruin a good time at the movies than liberal speechifying.   John Sturges knew what a tri-pod was. Does anyone really think they can improve on Sturges? 

Sylverster Stallone’s glorious throwback to the brawny 80s is also about something, and it’s not Bourne-ian self-discovery. It’s about something that actually matters. And in this age of nihilism when believing in anything bigger than self is considered old-fashioned, unsophisticated and naïve, that’s both refreshing and important.  Mickey Rourke, who has a small but showy supporting role as the proprietor of the tattoo parlor that serves as the Expendables’ hangout, explains it with a single word. I won’t spoil anything, but without this scene, this important turning point, “The Expendables” wouldn’t be half the movie it is. 

Stallone plays Barney Ross (probably not his real name), the leader of a band of American mercenaries who, along with Christmas (Jason Statham), Gunner (Dolph Lundgren), Yang (Jet Li), Toll (Randy Couture), and Caesar (Terry Crews), is willing to go most anywhere and kill most any bad guy for a price. The story opens with a well-crafted action sequence involving Somalia pirates that not only establishes how deadly competent our guys are, but also that they’re not cold-blooded killers.  These are men with a moral code and one of their own breaking that code will be the root cause of deadly complications and a couple over the top action sequences to come.  (more…)

This* one lost me at “From the Writer-Director of ‘Michael Clayton,’” a film I found dreadfully dull and completely illogical. (Of course, Tilda Swinton’s intelligent, savvy high-powered lawyer would fall for the old taping-you-without-you-knowing-it trick — not everyone saw “Wall Street.” And who knew you could so easily fake your death by tossing a wallet and watch into a burning car? The coroner must have been relieved to find identification in good enough shape to name a body burnt to nothing.) Suspending disbelief is not the same as suspending intelligence.

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To be honest, anything with Julia Roberts** pretty much loses me from the start. She was never a great actress female actor, but before Diva-dom struck about 40 minutes into “Erin Brockovich (2000),” she had a remarkably warm and accessible screen presence. That’s gone now. Even the famous smile feels calculated. Roberts can’t do “empowered” without coming off as cold and distant. Kate Winslet*** and Naomi Watts can play ‘em tough without losing the important undercurrent of vulnerability and tenderness. In her day, even Sharon Stone could pull this off on some level. (more…)

Mickey Rourke won the Independent Spirit Award last night in Santa Monica, possibly setting the stage for a memorable Oscar moment tonight. Randy “The Ram” Robinson, the character that Rourke plays in Darren Aronofsky’s The Wrestler (Fox Searchlight) is a blazing, raw, “broken down piece of meat” of a professional wrestler, and it is a once in a lifetime performance for the not-that-long-ago has-been.

His speech is so entertaining that as I was hosting an Oscar Eve radio special on 790 KABC in Los Angeles last night, every guest that had been at the Spirits could talk about nothing else, including Best Supporting Actress nominee Taraji P. Henson from Benjamin Button, E!’s Ben Lyons, Associated Press film critic Christy Lemire, James Marsh, the writer/director of Man On Wire (favored to win Best Documentary Feature tonight) and Emmy winning actor Bryan Cranston from Breaking Bad (set to return on AMC on March 8). (more…)