The Mask of Zorro

My first introduction the character of Zorro goes back to a Disney Sing-A-Long VHS tape (Yes, VHS, and it was awesome), the theme imprinting itself on my young brain. Listen HERE, and you're welcome. The Zorro character has gone onto bigger and better things, including a late 90s swashbuckling adventure that I missed out as a 13-year old. Here's 1998's The Mask of Zorro.

It's the early 1820s in California -- then still a Spanish territory -- and the people are constantly kept down by the Spanish governor, Don Rafael Montero (Stuart Wilson). Providing a thorn in his side is Don Diego de la Vega (Anthony Hopkins), a rich landowner who has an alter-ego known as Zorro, a masked bandit and expert swordsman who protects the people and baffles the Spanish governor. Montero finally catches up with Zorro though before being sent back to Spain amidst a revolution, dumping the landowner turned bandit in a dumpy prison while also wreaking havoc on Vega's family. Some 20 years later, Vega is wasting away but he manages to pull off a daring escape. What prompts it? He finds out Montero has returned to California with plans to take over the territory. Vega needs help to exact revenge though and finds it in the form of a vengeful Mexican bandit, Alejandro (Antonio Banderas), who must undergo quite the transformation -- with Vega's help -- to exact his revenge and possibly save California in the process from a whole lot of trouble.

The Zorro character's inception dates back to author Johnston McCulley in the late 1910s, the character appearing in some pulp fiction with his popularity quickly spreading. Zorro has appeared in books since then as well as comic books, TV shows and movies on an international level, not just in the United States. As I mentioned, I missed this 1998 adventure when it first came out -- being a punky teenager and all -- but here I sit to catch up with it. 'Mask' was a big success, earning positive reviews and making $250 million in theaters. The reasoning?

From director Martin Campbell, 'Mask' feels like a throwback to swashbuckling movies of Hollywood's Golden Age dating back to the 1930s and 1940s. What did it remind me of most? Maybe the best adventure flick of all time, 1939's The Adventures of Robin Hood. No, this isn't even remotely classic, but my goodness, what a fun movie. The production was somewhat troubled with some casting drama and Robert Rodriguez dropping out (with Campbell replacing him), but it doesn't affect things in the least. The formula is simple. The good guys are honorable, loyal and heroic. The bad guys are evil, despicable, greedy, backstabbing and will no doubt get their comeuppance. The story is a tad long at 136 minutes, but there's not much downtime with a series of swordfights and action scenes sprinkled throughout. In an age where action movies often have a message, it's fun to see a movie that's just....fun.

Who better to play the suave, smooth swordsman than suave, smooth Antonio Banderas? I submit that NO ONE would have been better. Just like in Desperado, probably his most well-known roles along with Puss-In-Boots, Banderas just commits to the part. He's manic energy on the screen, and it works so effortlessly and well. You like Banderas' Alejandro turned Zorro, you're rooting for him, and Banderas looks to be having a ton of fun every minute he's on-screen. It's the Spanish actor at his best. It doesn't hurt either that his supporting cast is excellent, especially his chemistry with Hopkins (a somewhat unlikely Spaniard) and Catherine Zeta-Jones as Elena, the governor's daughter -- with a secret -- who takes a liking to Alejandro, all the while not knowing who he is or what he's up to. The mentor-student relationship between Hopkins and Banderas is excellent, and the chemistry between Zeta-Jones is palpable, whether it be their salsa dance scene or their later swordfight.

So Banderas, Hopkins and Zeta-Jones, that's enough, right? Those are the best parts, but there's more. Wilson is okay as the bigger villain, that dastardly greedy returning governor, but the best villain is Matt Letscher as Captain Harrison Love, apparently a U.S. Army officer working with the Mexicans? It's never really explained, but who cares I guess, he's easy to hate. Also look for Stuart Wilson and Pedro Armendariz Jr. as two Dons, landowners who team up with Montero in his plot to take over California. Smaller parts go to Victor Rivers as Alejandro's brother, a famous bandit, while western character actor L.Q. Jones delivers a small but memorable part as Three-Fingered Jack, an infamous bandit.

As I read some about the making of the movie, it was cool to find out at least part of the story and characters are based in reality of 1850s California history. Now there are some major freedoms taken with that story, but it's always interesting. With a score from composer James Horner and filming on-location in Mexico, the look, sound and feel of the movie is pretty spot-on. The set pieces from a fun training montage to the action-heavy finale at a gold mine carved into the side of a mountain are all pretty memorable. It's that pretty perfect popcorn movie. Sit back and enjoy.

The Mask of Zorro (1998): ***/****

The Expendables 3

I've enjoyed both the previous Expendable movies, The Expendables and The Expendables 2, knowing full well they're not particularly good movies. It's the rare franchise where things get better with each progressing flick. Then came the third entry...pretty much panned by critics and not embraced by audiences as much. Well, most of the audience. I happened to love it for all its insane goofiness and over the top everything. Here's 2014's The Expendables 3.

Having rescued a former member of the team from a heavily guarded train, Barney Ross (Sylvester Stallone), Lee Christmas (Jason Statham) and the Expendables move onto their next mission, but there is far more awaiting them than they expected. Sent to knock off an international arms dealer, Barney is stunned to find out who the dealer actually is. His name is Conrad Stonebanks (Mel Gibson), a former member of the Expendables and a co-founder of the group with Barney who's long been believed dead after going rogue from the group. The team is all shot up and not in a good place to go after Stonebanks, but Barney wants nothing more than revenge on his former partner turned lunatic enemy. He sees the writing on the wall though and doesn't want to see his fellow mercenaries get killed in the process. Instead of going forward, Barney disbands the group and assembles a younger group of fiery mercenaries looking to prove themselves. Can they get the job done and not get killed in the process?

The first two Expendables movies are far from perfect, but the second one was definitely better than the first. Things were allowed to breathe a little bit and some fun characters were added to the mix. This third entry struggled at the box office, some attributing that to a PG-13 rating instead of an R-rating while others pointed to a bootleg getting a release weeks before the wide release. You know what? WHO CARES?!? These are movies meant for action-hungry fans who love over the top shootouts, a ridiculously cool cast, one-liner one after another, and villains you just love to hate. Nothing groundbreaking for director Patrick Hughes' film, but it is most assuredly not trying to break any new ground. Having written the screenplay for the first two, Stallone again handles that department and doesn't disappoint.

Stallone will never be accused of writing anything Shakespearean or all-time classic, but who the f*** cares? The man knows how to write a good, old-fashioned shoot 'em up, dammit! He tried to accomplish a lot with the first two flicks, but here? Here?!? It's like he challenged himself to amp things up to even more ridiculous levels. Much of the cast returns with quite a few BIG names joining the mix. It's a longer movie than its predecessors (126 minutes) and features a ton of action from the word 'Go.' It isn't a great movie, but 'Expendables' is damn entertaining. I watched it with a smile on my face and thoroughly enjoyed it from beginning to end. All Stallone wants to do is to put something out there that audiences WANT to see, and I love him for it. About as good as a movie like this can get.

The ensemble and action out of this world star power is at an all-time action high, but the guts of the movie remains that men on a mission, mercenary tough guy mindset. It starts of course with Stallone's Barney and Statham's Lee, bitching and moaning at each other like an old married couple. Those scenes provide some good laughs while also offering some background about the history of the Expendables. Dolph Lundgren, Terry Crews and Randy Couture are back too with Jet Li only appearing in the final 20 minutes in nothing more than an extended cameo. I still feel like people were surprised by how well the Expendables movies did in theaters. For years before the movies there were rumors of all the 1980s/1990s action stars who were interested in starring only to drop out. Since then, a long list of stars have made appearances leaving Lundgren, Crews, Couture and Li with little to nothing to do. Oh, that Arnold Schwarzenegger fella is around too, chomping on cigars and even yelling "Get to the chopper!" How can you lose with that happening?

So Chuck Norris and Jean-Claude Van Damme weren't enough, huh? The casting gets taken to crazy levels here. Gibson is a great addition to the series, his Stonebanks a perfectly evil, sinister, growling villain, injecting a ton of energy. I need more! Replacing Bruce Willis, Harrison Ford is an easy cool as Drummer, the team's CIA holder of sorts. Wesley Snipes and Antonio Banderas join the Expendables too because...well, why the hell not?  Both look to be having a lot of fun in parts that let them ham it up some (or for Banderas, A LOT). As for the new, fresh Expendables, there's Kellan Lutz (former Marine, favors a motorcycle), Ronda Rousey (hand-to-hand specialist), Glen Powell (tech) and Victor Ortiz (weapons). The younger group isn't as interesting, but their inclusion to the story is more of a means to an end. Kelsey Grammer plays Bonaparte, Barney's mercenary recruiter, the recruiting scene something right out of The Magnificent Seven or countless other men on a mission movies.   

Look, there's no point in analyzing the action. It's good, but obviously not as bloody or as graphic as an R-rated version would have been. Blood or not, the body count that piles up is downright gratuitous. The finale alone is ridiculous with every action cliche ever invented seemingly on display. Stallone vs. Gibson, thousands of bullets flying, Lutz doing his best Steve McQueen/Great Escape impression, Ford flying overhead in a helicopter with Schwarzenegger as his machine gunner, and that's just the start. As an action fan, it's almost too much....eh, not really. It's awesome and just a blast to watch. From the action to the cast, the mercenaries busting each other and seeing who's the best, the old vs. new school, the great villain, it is a hell of a lot of fun. An easy-going mess of a movie that I loved throughout. Here's a closing thought to process.

Late in the movie, a helicopter is loaded with some of the most iconic action heroes ever. We're talking Rambo/Rocky, Han Solo/Indiana Jones, the Terminator, Blade, the Transporter, Ivan Drago, and Desperado all flying along. Oh, and Braveheart is below chasing after them. It's just too much to take in! Aaaaaaaaaahhhhhhhh!

The Expendables 3 (2014): *** 1/2 /****

Haywire

First appearing in the public eye as a mixed martial arts fighter, Gina Carano has made the jump from athlete to actress, and the early return is nothing but positive. For her first movie, she chose a role that's right in her wheelhouse, a fastball down the middle. She made a wise decision, picking an ideal role that gets to show off her immense physical talent and ability, starring in 2012's Haywire.

Working for a private contractor who works for the government, former Marine Mallory Kane (Carano) is as good as it gets when black ops work is needed. She takes jobs on an individual basis from her boss, Kenneth (Ewan McGregor), sometimes working alone, other times working with a team. After a successful job in Barcelona though, everything hits the fan. Suddenly, Mallory has been set up and international law enforcement is after her wherever she goes. Who burned her, and what's their motive? Left on her own and abandoned in Europe, Mallory must now find out who set her up before they complete their mission.

From director Steven Soderbergh, Haywire is just more proof of the director's already visible talent. Dark comedies, crime dramas, heist movies, disaster epics, historical period pieces, Soderbergh can do it all, and he manages to put a unique, personal spin on all of them. I really liked this movie from the talented director. His familiar style is there, but it's a no-frills sort of style. Title cards keep us abreast of where Mallory has traveled to, and what better music than a fast-paced jazzy score to accompany the action? Composer David Holmes does a variation on his Ocean's 11 score, a more subtle, sinister sound. Listen to the main theme HERE. The whole soundtrack/score is surprisingly worthwhile, appropriate in a quirky sort of way. It's a small-scale spy story -- somewhat similar to the Bourne movies -- that feels familiar with a 'been there, done that' quality, but Soderbergh and his cast are so good at what they do, you don't even notice. It's too good of a movie.

Appearing in her first starring role, Carano does not disappoint as the vengeful Mallory. There are too few female action stars out there -- legitimate ones that an audience can buy -- and Carano certainly has that potential to fill the void. Basically, don't expect her to do any romantic comedies anytime soon...although that could be interesting. This isn't a part that requires her to be a big, showy performer. It's a subtle, quiet performance that relies on intensity and few words. Most importantly, Carano is incredibly believable in the part. As an athlete/MMA fighter, she's quite capable, something she gets to show off in her handful of hardcore fight scenes. She does all of her own stunts (that I could see), and also important, more than holds her own in the fight scenes. Fight sequences between a man and a woman can look forced and stagey, but not here. A welcome addition to the action genre, I look forward to seeing where Carano goes from here as an actress. Incredibly talented and one of the sexiest, seductive spies ever.

It is a testament to Soderbergh's talent and reputation that countless actors/actresses want to work with, as is the case here. Haywire features a handful of smaller performances from some not small names and not a one disappoints. McGregor gets the most screentime as Kenneth, Mallory's employer and former boyfriend/lover, and makes the most of his supporting part. Channing Tatum plays Aaron, a fellow agent/operative who's worked with Mallory in the past and is now trying to piece things together. Michael Douglas is nicely cast as Coblenz, a government higher-up who hired Kenneth for some off the books work, and Antonio Banderas is appropriately mysterious as Rodrigo, a key part of the mission and deception. In a brutally efficient part, rising star Michael Fassbender again shows he's capable of bigger and bigger things, playing Paul, an Irish source for Mallory. Bill Paxton plays John Kane, Mallory's father, who knows what his daughter is up to, constantly hoping she leaves the business.

For better or worse, some of those performances are there for Carano's Mallory to beat the crap out of. With her mixed martial arts background, Carano leads the charge in the action department. That no-frills, brutal style is reflected in these fight scenes, one with Tatum and Fassbender each, among some other quality action. These are fights that leave the viewer hurting, and Soderbergh wisely shoots it without the frenetic editing. We see the fights, see the individual moves, all of them done so quickly they're almost a blur. Even better, no music is played over these scenes, all of the focus on the brutal hand-to-hand combat. This is where Carano shines, a physical presence who can stand toe-to-toe with her male counterparts.  The sequences are so well done there's almost a dark beauty to it all, so good it makes you marvel at what's going on.

Above all else, that's what this flick is; an action movie. A chase through Barcelona, and later Mallory fleeing a SWAT team in Dublin are criminally simplistic. It isn't lots of quick cutting and crazy out of this world explosions and pyrotechnics, just one person on the run and/or chasing someone. Holmes's jazzy score plays over this portion that bounces back and forth between color and black and white photography. Stylish without being overdone, just enough to call attention to itself without being overly aggressive. The story itself is half flashback, half current time, and while they're explained, the betrayals and double crosses are almost unnecessary. From Barcelona to Dublin, upstate New York to the New Mexico desert, Haywire starts off at a sprint and never slows down at just 93 minutes. Simply put, a professionally made, beautifully choreographed espionage/spy thriller that is well worth a watch.

Haywire <---trailer (2012): ***/****

And Starring Pancho Villa as Himself

It is a name that is instantly recognizable when heard, even if the reason isn’t well known. He was a revolutionary and dubbed by some a murderer and a coward even in his home country where he fought for the poor and downtrodden against the powerful dictator and his government. He is even infamous for “invading” the United States however briefly before retreating across the border back into Mexico. His name was Pancho Villa, and there have been few people in the last 100 years of history to stir up as much controversy as him.

Because of the controversy that hovers over his memory and reputation, Villa has not been dealt with much through movies.  When there are movies about him, they range from comically bad like Telly Savalas playing Villa in an awful Euro-western appropriately titled “Pancho Villa” or a straight action, shoot ‘em up flick like Villa Rides!  From what I’ve read about the infamous revolutionary, there’s very little that isn’t interesting about him.  An HBO Films production, 2003’s And Starring Pancho Villa as Himself (odd title, cool movie) jumps right into the historical personality, looking at both the good and the bad.

It’s 1914 and with motion pictures still in a fledgling stage, Mutual Films agrees to a contract with Mexican revolutionary Pancho Villa (Antonio Banderas) who is fighting Mexican president Huerta and his army. Frank Thayer (Eion Bailey) leads the film crew that will document the revolutionary struggle, including filming real live battles.  The finished product is panned critically and is a miserable, costly failure. Frank comes up with a better idea, go back to Mexico and work with Villa on a second movie, a longer one that will explore Villa’s life that will take some liberties with the truth. But as “filming” begins, Frank begins to see that the man he’s come to respect so much isn’t everything he’s cut out to be. Amidst a bloody revolution, Thayer may pay for his errors with his life.

Just like controversial historical figures such as Che Guevarra, Adolf Hitler, and any number you care to add, you’re working on thin ice when making a feature length movie about them.  Viewers are going to have a preconceived notion about the person going into the movie.  With Villa at least, this isn’t as much of an issue. He’s been dead over a 100 years, and anyone who met him would have been a child when doing so.  For awhile in ‘Starring’ I was worried that the portrayal of Villa was too whitewashed, painting him in this adoring light that ignored all his flaws.  But as the movie moves along and we see more of Villa, we see a man who contradicts himself with his words and actions, combining the thoughtful and good with the horrific and cringe-inducing. A balanced look is always a better one, and ‘Starring’ is better for exploring the person through all the good and bad.

Besides the obvious physical resemblance, Banderas is about as perfect a choice to play Pancho Villa. No matter the role, he has an incredible physical presence on-screen. With a part like a revolutionary who leads thousands of followers with his charisma and personality, that’s a must for the actor.  Banderas sells it that he could lead a rebel army into battle, riding at the front into a wall of gunfire.  It is a role that allows him to show off his charming side while balancing it out with a side where rage and fury boils just beneath the surface waiting to explode.  You’re never sure what to expect of the man, and that makes it impossible to take your eyes off him.  The relationship that develops between Banderas’ Villa and Bailey’s Frank is our view point, our perspective as we see all of the man’s flaws and imperfections.

Title cards, prologues, and epilogues all point that the story being told is a true one.  Now as you might know, there’s no actual “The Life of General Villa” silent movie out on DVD.  Thayer’s narration states it “has been lost to posterity.” That’s the surreal part of the movie whether you believe the claim of historical accuracy or not. Thayer and his crew film during battles as bullets fly by and explosions sound in the distance. I wish this angle would have been played up more as it provides some hilariously dark humor. Citing the contract they’ve both signed, Thayer even requests Villa attack from the west in an epic charge not because of a strategic decision but because the LIGHTING from the west is better than the east. A minor complaint there because what’s there is funny without overdoing it.

The parts for Banderas and Bailey (of Band of Brothers fame) dominate the story and the screentime, but that doesn’t mean the supporting cast isn’t worth mentioning. Alan Arkin is a scene-stealer as a machine-gunning mercenary from Brooklyn fighting for Villa and $1,000 a month, Michael McKean is the director working on-location in Mexico, Kyle Chandler plays future director and then-actor Raoul Walsh (playing young Pancho in the movie), James Broadbent as the studio head pulling the strings, and Alexa Davalos in a wasted role as Thayer’s love interest.

Just like its flawed title character, the movie has its flaws sprinkled here and there.  But overall, the positives more than outweigh the negatives.  Banderas carries the movie in one of his best performances in a movie with a large scale that never overshadows the personal side in this possibly – just maybe –accurate historical epic.

And Starring Pancho Villa as Himself <--- trailer (2003): ***/****

The Code

Usually when I see a straight to DVD movie, I try and steer clear of it. But every so often, I see one that catches my eye with some unlikely casting or a worthwhile story. I thought The Code might qualify in both categories with Morgan Freeman and Antonio Banderas as the leads in a heist movie. After an interesting start, this one derailed in a big way about halfway through.

Looking for one last big score to settle a debt with the Russian mob, infamous art thief Keith Ripley (Freeman) recruits another master thief, Gabriel Martin (Banderas), to help him out. To settle his debt, Ripley must steal two Faberge eggs worth $20 million apiece from a well-guarded Russian jeweler's fortress of a vault. To get the job done, Ripley and Gabriel must get past obstacles that include voice and fingerprint recognition, highly sensitive motion sensors, heavily-armed guards and a vault that closes on its own if open too long. Their plan progresses smoothly until Gabriel ends up with Ripley's goddaughter, Alex (Radha Mitchell), with the mobsters finding out about their relationship. All the while, Ripley's long-time nemesis on the NYPD, Lt. Weber (Robert Forster), is hot on their trail.

If you're like me, that sounds promising but something doesn't translate in the execution. The build-up to the heist works although it is a bit rushed, and the heist itself works for the most part. There's a couple 'what the f*ck?' moments that I'm still not sure on, but those were the least of my worries. What is disappointing is that the script is conscious of past heist movies as Ripley and Gabriel discuss Rififi and Topkapi with Gabriel even mentioning he only watches heist movies. But it never delivers, and thanks to some stupid twists in the last half hour I came away with a bad taste from The Code.

With heist/robbery movies, it's pretty much assumed that some twists and surprises are part of the story. It seems the directors, producers and scriptwriters know this too because they're always trying to out-do and one-up themselves. So when the twists do come, they're usually too forced and out of left field. The Code has two such twists, the first of which is absolutely ridiculous, the second working a little bit better although it sounded like something out of the Ocean's 11 movies. I dislike twists for the sake of twists that basically make the rest of the movie pointless, and both twists here do just that.

Looking at the casting, this is the type of role Freeman can sleepwalk through. He's usually better in supporting roles but does all right here as the lead. Freeman doesn't come off as intimidating though, which the role requires some, but as the master thief with no match it works. Banderas as the younger recruit seems odd, and I'm convinced he has a clause in his contracts that a sex scene is required with his female co-stars. In general, Banderas doesn't come across well here. Really, it's the supporting cast that is pretty good.

I'd only seen Mitchell in Pitch Black, which I enjoyed, and in a few supporting roles, but along with Freeman she's the high point of the movie. She's a lawyer struggling with the recent death of her father who when she meets Banderas' Gabriel develops an immediate chemistry. The viewer's never quite sure of her intentions, and the script calls for her to look good in any number of tight/short outfits. As the detective on Ripley's trail, Forster is good as the weary officer who knows a job is coming but not the details of it. Rade Serbedzija, a face you'll recognize even if the name doesn't ring a bell, makes a brief appearance as Petrovich, the Russian mobster who wants the Faberge eggs.

Maybe it's just the straight to DVD stigma, but The Code never lives up to any expectations, and they weren't that high to begin with. Set in New York and other than a few locations where it's obviously NYC, the movie was filmed in Bulgaria, I guess for cheaper shooting costs. The script, the annoying, tries too hard musical score, and more than a fair share of ridiculous plot holes, The Code just wasn't that good despite efforts from star Morgan Freeman. Can't recommend this one at all.

The Code (2009): * 1/2 /****