The Expendables 3

It had to happen eventually: the Frankenstein of Hollywood has gone and made a big lurching Franken-movie.

Little Sylvester Stallone has always looked a bit cartoonish, and in recent years it’s become increasingly hard to tell him apart from his own Spitting Image puppet.

That sloping, strokey mouth. Those freakish, pumped-to-the-point-of-bursting muscles. (Thanks, human growth hormone!) The surgically smooth, semi-melted-waxwork face. Whatever’s going on with that tar-black blanket on his head we’re supposed to think is his hair. The platform shoes so stacked they’d make Bono blush. He’s an absolute riot.

And with The Expendables 3 (2014), he’s finally made a film that is as odd, over-stuffed and unlikely looking as himself.

Bursting at the seams with a parade of famous faces in a mind-frazzling array of cameos, this bloated sequel to a sequel becomes swollen to the point where it no longer resembles a normal film. The movie’s poster alone features 17 – yes, 17 – stars. That’s not so much a movie poster as a committee meeting. Or, given the result is such total wank, a bukkake party.

At heart, the first two Expendables movies worked because they followed a simple formula – build an ensemble cast, then add a carefully chosen smattering of guest stars.

But one gets the sense that ‘less is more’ possibly isn’t a dictum by which Sly leads his life. Thinking mathematically (and counting on his fingers), the old boy probably really did think that having literally twice as many characters in the new movie would make it twice as good. As opposed to shit.

The plot

Sly and his gang are getting old. At a certain point, all the hair dye and face lifts in the world can’t hide the fact that half this doddering lot are older than the cast of Last of the Summer Wine. So, after sacking the original Expendables crew, our ageing action star recruits a bunch of young, fresh-faced whippersnappers to take their place. (Cue a crazed, carousel-like introduction of new ‘characters’).

The first mission for the new team is to kidnap a notorious arms dealer (Mel Gibson) who also happens to be Stallone’s arch nemesis. Naturally, the assignment goes tits-up: the Italian Stallion barely escapes with his life and all his eager pups are captured.

With no time to introduce yet more characters, Stallone is forced to reunite with his old buddies (Statham, Lundgren, et al) in order to rescue the newbies who made such a Horlicks of their very first mission.

Will Sly save his kindergarten comrades? Can he settle his grudge with Gibson? Have all the elder Expendables taken their daily aspirin? Oh, the tension…

Who’s in this?

Frankly, with a cast this size, it’d be quicker to tell you who isn’t in this film. But here goes. First, the usual gang of Expendables are all in attendance: Stallone, Statham, Lundgren, Crews, Li, Schwarzenegger and Couture. Tick.

Wesley Snipes: Keeping the receipts this time

They’re joined on this outing by Nineties action also-ran Wesley Snipes, for whom this movie was something of a comeback effort following an unfortunate two-year spell in Sing-Sing for tax evasion. In the hi-larious opening scene, our Wes is – nudge-nudge, wink-wink – sprung from a top security prison by our jowly heroes. Ho, ho. See what they did there? Snipes really was in prison in real life, and now they’re showing him locked up in the movie and…oh, you did get it. Sorry.

Also relishing the opportunity of a little light career rehabilitation is Mel Gibson. Work has understandably been a tad scarce for Mad Mel in recent years, due to him being so busy with his alcoholic, wife-beating, anti-semitic and homophobic commitments. (Incidentally, if we’ve left anything out, forgive us; it’s hard to keep up with Mel’s misdemeanours).

And the additions don’t end there. There are walk-on roles for a clearly bored Harrison Ford, a mugging Antonio Banderas, a redundant Kelsey Grammer and walking Clearasil advert Robert Davi as the uber-villain. Phew!

Mercifully, there is one noticeable absentee: Bruce Willis. Despite appearing in the previous two entries, the chrome-domed diva was promptly dropped after demanding $1m dollars a day to work on the movie.

“Where’s Church?” asks Stallone in a pointed reference to Bolshie Bruce’s character. “He’s out the picture,” replies Harrison Ford, winking at the camera. It says a lot that this is not even close to being the crassest line of dialogue in the movie.

Excess all areas

While that outline of the cast may have been exhausting, it wasn’t exhaustive.

Human punching bag Rhonda Rousey

As brighter readers will have noticed, Exploding Helicopter hasn’t yet mentioned the baby Expendables – which includes Twilight heart-throb Kellan Lutz and MMA badass Rhonda Rousey (these were the days before too much lounging around movie sets transformed her from an undefeated cage marauder into a human punch bag).

As you may have guessed by now, there are a lot of ‘main’ characters. And therein lies the film’s problem. There are simply too many people on screen, waiting around to deliver their one line of unconvincing dialogue. There’s no plot to speak of, just a succession of scenes crowbarring another actor into the action.

At times The Expendables 3 feels like watching a Royal Variety show. A succession of famous faces take centre stage for a couple of minutes, perform a potted version of their most famous act, then gladly disappear off into the wings. Had Bruce Forsyth suddenly come tap-dancing across the screen, it wouldn’t have been too much of a surprise. And he’s probably younger than half of them.

Exploding helicopter action

Given the film’s whole-hearted commitment to excess, you won’t be fazed to learn there are no fewer than three exploding helicopters to report.

One chopper bites the dust early in the film, always a cheering sign for aerial conflagration groupies. Having completed the daring Snipes rescue raid, and with no further use for the whirlybird, Stallone gives the viewer a cheap thrill by triggering an explosive charge and blowing it up.

The next chopper fireball scene, which takes place during the climatic action sequence, admittedly comes as quite a surprise. When two enemy choppers close in to take out our heroes, who should suddenly appear expertly piloting a helicopter but, er, Harrison Ford. Before you ask: Yes, that is the same Harrison Ford who, in real life, crashed a plane onto a golf course two years ago and, earlier this month, almost hit a commercial airliner carrying more than 100 people. Was this really the best casting decision? Maybe in the next instalment, Mel will be playing a gay rabbi who volunteers at a women’s shelter.

Step away from the controls Mr Ford

Luckily, contrary to popular rumour, fiction is way, way stranger than the truth. Because once the cameras are whirring, it turns out our Harrison is an excellent pilot. First, he effortlessly shoots down one whirlybird using his machineguns.

Then, pursued by the second baddie, old Han Solo deftly weaves in-between the giant chimney stacks of an old industrial factory – going perilously close to certain death – until his opponent loses control and crashes explosively into one of the vents.

And at no point during this scene does Harrison crash onto a large open green space nor almost fly into a crowded Boeing 737. Aren’t movies wonderful?

Artistic merit

A definite case of quantity over quality. The chopper fireballs are done with embarrassingly poor CGI. In a film with a near $100m budget, it’s inexcusable. Having said that, chopper fireball cliché fans will enjoy the classic hero shot of the Expendables coolly walking away from an exploding whirlybird.

(Note: The movie’s final conflagration once more brings up a perennial bugbear of this website: why are movie chopper pilots incapable of avoiding entirely observable buildings?)

Favourite line

When Schwarzenegger turns up in a helicopter to evacuate our heroes, he gets to rather predictably yell: “Let's get to the CHOPPA!”

It’s a groaner, but you can’t help but enjoy it.

Review by: Jafo

The Expendables

After a run of box office duds in the early Noughties (Get Carter, D-Tox, Driven), Hollywood decided that Sylvester Stallone was himself expendable and consigned him to the movie scrapheap.

Unable to get an acting gig, Sly licked his wounds for a few years before rebooting his career with sequels to the two franchises that had established him as a star in the first place. And while critical reaction to Rocky Balboa and Rambo was lukewarm, both films made handsome returns at the box office.

Counting purely on his own firm resolve – and some industrial-sized injections of human growth hormone – Sly proved, against all expectation, that there was indeed a market for watching pension-age action stars creak arthritically through the butt-kicking moves of their youth.

No surprise then that, for his first venture into ‘original’ material since the great comeback, Stallone opted not to stray too far from the profitable formula. If nothing else, The Expendables (2010) has no shortage of ultra-violence dispensed by doddery old folks.

The token plot (and let‘s be honest, this isn’t a story that invites scrutiny) has Stallone as the leader of a bunch of mercenaries for hire. They’re paid to assassinate a military dictator who is running a massive drug operation. Other than the obligatory rogue CIA agent, that’s about it.

Technically, this is an original work. However, despite his dopey features, Sly is much too sharp to have not recognised that the success of Rambo 4 and Rocky 6 lay in their nostalgic groove. Audiences don’t want him to move with the times, so much as go back in time. Retro, therefore, is the order of the day.

The style, mood and even cast – action stalwarts Dolph Lundgren, Eric Roberts, and Gary Daniels are exhumed from their DTV careers to co-star – are all classic vintage. The film couldn’t be more Eighties if you permed it’s hair, dressed it a shell suit and made it dance to Kajagoogoo.

Despite all the snapping bones and non-stop fighting, a warm, feel-good vibe permeates the film – one that trades heavily on the audience’s affection for these grizzled old bears going through the motions all over again. After all, besides baddies and grenades, they also now have to contend with lumbago and the possibility of losing a bit of wee mid-action scene.

In many ways, with its familiar cast of ageing reprobates getting up to no good, it’s like a peculiarly violent episode of Last Of The Summer Wine. At any given moment, one almost expects the Stath to slip on a woolly hat and start eulogising about Nora Batty’s saggy tights. (As it is, he instead opts for repeatedly pummelling someone’s face into a scarlet mush, but you get the general idea.)

Cheap bon mots aside, there is a serious point to be made. The Expendables works because Stallone understands why people love Eighties action movies – because they featured larger than life characters who visibly enjoyed their ass-kicking antics.

Compare, let’s say, Arnold Schwarzenegger’s Commando (1985) to the po-faced seriousness of the Bourne films, where Matt Damon blankly beats the bejaysus out of everyone with the bored indifference of a supermarket checkout worker. It’s easy to admire the Bourne films, but pretty hard to love them.

The Expendables may be full of genre clichés, but they’re delivered with love and affection rather than being cynically trotted out as a tick-box exercise. As such, it’s no surprise to see the movie delivering on the ultimate genre staple: the exploding helicopter.

At the end of the film, Stallone and his men launch a huge assault on the villain’s HQ. Realising the game is up, Eric Roberts attempts to make a getaway in a helicopter. And with Sly prevented from reaching him by a wall of fire – and the whole base going up like a fireworks display – it’s looking like he’ll succeed.

Fortunately, Old Stroke Features comes up with an inspired piece of improvisation. One of his unfeasibly musclebound cronies throws an artillery shell (that conveniently happens to be lying around) towards the chopper and, as it arcs through the air, Stallone fires his pistol at the shell. Ba-boom! One flambéed helicopter coming right up.

Artistic merit

The explosion is a whopper, big enough to satisfy every red-blooded chopper fireball fan, even if the CGI is a trifle too noticeable.

There’s also a good shot of Stallone diving away from the explosion in classic action movie style as he‘s nearly dismembered by a piece of flying shrapnel.

Exploding helicopter innovation

The ‘MacGyver style’ improvisation with the artillery shell and the pistol is a nice touch. While helicopters have been destroyed in more unusual ways, it’s rare to see a character being so intellectually creative in the execution of his plan. (And of course, having the words ‘Sly Stallone’ and ‘intellectually creative’ in the same sentence is a novelty in itself.)

Still, such ingenuity is not unprecedented. That renowned intellectual heavyweight, Steven Seagal, once used only a knife, paint-stripper and some advanced cub scout skills to blow up a chopper. (The film was Under Siege, fact fans). But then, you can tell Big Steve really clever by the way he almost says his lines.

Positives

The plot is commendably simple: kill the baddie and rescue the girl. At some point around the late Nineties, filmmakers started worrying that this formula had become exhausted and started throwing in lots of arsey sub-plots involving double and even triple crosses.

One day, Exploding Helicopter will get its protractor out and draw you the graph showing the inverse relationship between plot complexity and audience interest.

Negatives

As much as we love the ensemble cast it does create a problem: how to squeeze everyone in?

Eric Roberts, ostensibly the main villain, has to share too much screen time with David Zayas’ inferior evil General and his character feels a bit undercooked as a consequence. Roberts’ henchman (played by Gary Daniels and Steve Austin) are also left with little to do other than scowl in the background before becoming human punch-bags in the film’s extended showdown ending.

Still, you can’t say Sly isn’t a learner. In The Expendables 2, which has a similarly sprawling cast, everyone is given a suitably memorable moment in the spotlight.

Favourite quote

In a movie that celebrates action cinema, it’s pleasing to hear Randy Couture utter perhaps the genre’s ultimate cliché: “We got company”.

Interesting fact

Dolph Lundgren’s character was originally killed off, but audience reaction to the blonde lunk in test screenings was so positive that scenes were re-shot to show he hadn’t died.

Review by: Jafo

Red Scorpion

Dolph Lundgren plays a Russian special forces soldier sent to an African country to help stop an anti-Communist rebellion.

Lundgren is tasked with killing the rebel leader, Sundata. However, upon witnessing the brutality of the pro-Soviet forces, Dolph decides to fight with the rebels and help their rebellion succeed.

The film opens with some dark, backlit, photographs of Dolph looking mean and moody, while a narrator tells us what a bad-ass the Big Swede is. We then cut to the Russian army HQ in Moscow where Dolph is brought into a room of top Generals for an incredibly long and dull scene of exposition.

In order to carry out his orders, Dolph has to find a way to get close enough to the rebel leader to assassinate him. He arranges for himself to be put in jail with Kallunda (Al White) the right hand man of the rebel leader who the Soviet forces have captured.

Dolph helps Kallunda escape along with Dewey Ferguson (M Emmet Walsh) an American journalist who's covering the conflict. The trio elude the pursuing Soviet troops and make for Sundata's camp. Having tricked his way into the rebel stronghold Lundgren attempts to kill Sundata. But his bid fails and he is left for the Soviet forces to find.

Dolph's failure isn't well received by his masters who decide to reward him with a spot of light torture with a set of knitting needles. Dolph escapes again - this time for real - from jail.

He wanders the desert until he's found by an old bushman. The old bushman makes Dolph a pair of sandals. Dolph is so humbled by this display of friendship that he renounces his Commie masters by tearing off his dog tags. The bushman then drugs Dolph and gives him a scorpion tattoo.

Dolph seeks out Kallunda again. He tells him he really is a deserter this time. Seeing the sandals and the tattoo Kallunda believes him. They team up and head off to kick some Commie butt.

The film climaxes with Lundgren leading an assault against his own Soviet forces and trying to hunt down their leader General Vortek. The General tries to make good an escape by taking to a Hind helicopter. However, it's only a few feet above the ground before Lundgren blows out the cockpit with a machine gun forcing the craft back down.

With his battle seemingly won Lundgren turns to leave, however, Vortek rallies briefly and is set to shoot Dolph in the back until some sixth sense warns the big Swede. He spins round and looses off with his machine gun blowing the Hind to smithereens.

Artistic merit

It's hard to find fault with a film which builds its conclusion around the explosion of a helicopter.

Made in the pre-CGI era there is a wonderful rich, blood orange explosion. The explosion has a richness and natural quality which is sadly often missing from many computer generated special effects.

There's also a double bang for your buck as the initial explosion which takes out the cockpit is superbly executed. When the helicopter is then ultimately blown to pieces the rotor blades continue to turn with the classic balletic beauty exploding helicopter fans have come to know and love.

Number of helicopters

1

Relevance to plot

Helicopters have a pleasingly prominent presence in the film.

Exploding helicopter innovation

Very little. Lundgren uses a conventional machine gun to bring down the chopper. The already crippled helicopter is then blown up on a landing pad with a well executed explosion.

Positives

There are lots of positives to this film. Not the least of which is Dolph's hair. It's shaved to the scalp at the sides, leaving a blonde strip on the top with a nice little cow lick at the front.

The film co-stars the great character actor M Emmet Walsh. He gives a typically garrulous performance as a rabidly anti-Communist American journalist. Walsh's character isn't big on journalistic impartiality as he has no hesitation in grabbing a gun and shooting Reds at every opportunity.

There's a also a small role for Brion James as a Soviet Army Sergeant. He seemed to specialise in playing sweaty, unshaven, henchmen and has had roles in Blade Runner, Tango & Cash, Red Heat and Bruce Willis's 'Die Hard on a Speedboat' flick Striking Distance. James doesn't really get anything cool to do in this apart from attempt a weird part Russian, part Afrikans accent.

There's also a great scene where Dolph shoots off the arm of a soldier who's about to throw a grenade at him. The soldier then crawls across the ground to try and get to his severed limb which is still holding the explosive. It won't surprise you to learn he doesn't make it in time.

Negatives

Director Joseph Zito [Missing In Action] seems at some points in the film to be striving for something more than a simple propaganda action film. The sequences with Dolph and the bushman take place in near silence. It's not that the scenes are poorly handled or uninteresting, but they feel a bit out of place.

Favourite quote

"You must be out of your mind!"

"No, just out of bullets."

Interesting fact

The film virulent anti-Communist politics may partly be explained by the fact it was allegedly financed by the South African Defence Force through the a right wing think-tank it financed called the International Freedom Foundation. Producer and scriptwriter Jack Abramoff helped run said foundation.

Review by: Jafo