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 /****

Guardians of the Galaxy

The summer of 2014 hasn’t exactly been a stellar one for big, huge, gigantic, popcorn-guzzling blockbuster flicks. Yeah, I liked 22 Jump Street, Edge of Tomorrow, and Dawn of the Planet of the Apes, but for the most part, there hasn’t been a Batman, a Superman, an Avengers, a HUGE summer movie. What’s been the flick that made the most money? One that deserves its distinction as the summer’s highest-grossing flick, 2014’s Guardians of the Galaxy.

It’s 1988 and young Peter Quill runs from a hospital room where his mom just died. As he sits in an open field, a spaceship flies over him, a huge light shining on him. Some 20 years later and now all grown up, Peter (Chris Pratt) has become an outlaw, dubbing himself Star Lord, with a growing reputation (so he thinks) in a far-off universe made up of countless planets and species. He’s managed to steal a seemingly normal orb for a buyer, but he’s stumbled into something bigger than he knows. The orb is incredibly powerful and whoever possesses it could control the universe. With some unwilling allies, including Gamora (Zoe Saldana), an experienced assassin, Drax (Dave Bautista), an enormous warrior, Rocket (Bradley Cooper), a genetically-mutated, talking raccoon who’s become a bounty hunter, and Groot (Vin Diesel), a humanoid tree capable of regenerating), Peter must prevent the orb from falling into the wrong hands…if this crew can pull it together.

If there’s a such thing as a “risky” flick in the Marvel Universe, this one was it. No huge stars, no Iron Man or Captain America or Thor or Hulk, and a story in a far-off universe where many to most viewers have no history…yeah, I guess that is a little risky. Now all that said, $500 million at the international box office seems to indicate that movie-going audiences don’t really give a crap. If it looks good, we’ll give it a shot. Director James Gunn turns in a gem, a movie that shrugs off all those concerns to tell a story in a far-off universe with all sorts of weird characters and species that’s a heck of a lot of fun. Dramatic, funny, entertaining, well-written, action-packed, unique and transporting viewers to a really cool universe. An easy one to recommend.

This is a movie that knows where it comes from in terms of the science fiction genre. It has touches of everything from Star Wars and Star Trek and The Avengers. On another level, it eats up a chance to add a new layer to the men-on-a-mission concept with films like The Guns of Navarone and The Dirty Dozen. Touches, yes, but this is its own movie. It seeks out its own identity. This is a popcorn movie, a true blockbuster that is well-acted, well-told, but mostly? ‘Guardians’ just wants to have some fun. It is stylistically aware of itself without being overbearing. The soundtrack with a lot of 1970s/1980s pop could be aggressively over the top, but the script finds a way to blend it seamlessly into the story. A big, colorful movie that embraces all the good – and very little – of the blockbuster concept. Yeah, the story can be confusing at times with so many characters and planets and situations and history, but it finds a groove pretty quickly.

What’s the best thing going here? The aforementioned men-on-a-mission angle similar to The Avengers and countless other movies. The concept is simple. You put a disparate group of individuals together, some specialists, mostly outcasts in one way or another, and give them some impossible mission to achieve. Here, it works effortlessly, a tribute to the talented cast. Pratt is a huge rising star, the roguish Peter Quill who desperately wants to be an infamous outlaw who’s name precedes him. Saldana is sexy and smooth, Cooper is at his scene-stealing best as the fiery, feisty Rocket (yes, Bradley Cooper provides his voice to play a raccoon), Bautista – an MMA fighter/WWE wrestler – an underplayed laugh machine, and Diesel having some fun as the one-liner repeating Groot. Yes, Vin Diesel plays a tree who has one repeated line, albeit with some different inflections.

More than the action, more than the other-worldly exploration, more than all that flashy stuff, I found the script to be the best thing going here. Working with Nicole Perlman and based off a series of graphic novels, Gunn brings these people to life. That's the men-on-a-mission angle; five disparate, different individuals forced to put their differences aside to get the job done. So many scenes are memorable, most of them worthwhile because of a sight gag among the group or a quick, witty one-liner. They may not always get along, but our Guardians are gonna keep at it. My favorite scene comes late, a staple of the specialist idea. Faced with impossible odds, they have to decide if they should go on, knowing full well many may not make it back. The build-up is hysterical as they talk it out (some would say criticize each other), and the pay-off is sublime, Cooper's Rocket absolutely killing a quick monologue. It is those moments that stick with me days after seeing the movie.

Also look for Glenn Close and John C. Reilly as high-ranking officials and staff on Xandar, the universe's capital. If there's a relative weakness, it's the villains, including power-seeking Ronan (Lee Pace) and his fiery daughter, Nebula (Karen Gillan). Michael Rooker has a lot of fun as Yondu, leader of the Ravagers who kinda sorta likes Peter but also knows he can't fully trust him. Last seen in Thor 2, Benicio Del Toro makes a quick appearance as The Collector while Djimon Hounsou is wasted as a tough guard who is on Peter's trail. 

No point overanalyzing this one. Risky though it may have seemed, it is a gem, ranking up there with The Avengers as one of my favorite flicks from the Marvel Universe. Yeah, the story can be tough to follow early on. Yeah, the villains could use some pumping up, but these complaints are almost wasted. This is a FUNNY movie. I laughed here more than I did in intended comedies. For goodness sake, Bradley Cooper lends his voice to play a wisecracking, weapons slinging raccoon. Vin Diesel plays a tree. A TREE. 'Guardians' is everything that's right about summer blockbusters. Can't recommend this one enough. The easiest of recommendations.

Guardians of the Galaxy (2014): *** 1/2 /****

The Wild Geese

A little bit of a spin on the wild west gunslinger, today's discussion centers around the mercenary, the hired gun who will take just about any job as long as the money is good. And if movies have taught us anything, mercenaries had lots of work throughout Africa in the 1960s and since with movies like Dark of the Sun, The Dogs of War and most recently Tears of the Sun. What about the best of the bunch? It's a movie many American viewers may not have heard of because it didn't get much of a release in the states. That movie? One of my favorites, 1978's The Wild Geese.

 A brutally efficient mercenary with years of experience under his belt, Allan Faulkner (Richard Burton) has agreed to take on a dangerous mission in Africa courtesy of the equally brutal, efficient and greedy merchant banker, Sir Edward Matherson (Stewart Granger). With lucrative copper mining rights on the line, Matherson needs Faulker to rescue a deposed African leader, Julius Limbani (Winston Ntshona), a leader of the people and a good man, to retake the government and settle things down. Taking a hefty payday, Faulker assembles an experienced, effective unit of 50 mercenaries, including fellow officers Lt. Shawn Fynn (Roger Moore), Capt. Rafer Janders (Richard Harris) and Lt. Pieter Coetzee (Hardy Kruger), and goes about putting together an effective plan, a smash and grab job. Faulker has the men assembled to pull off the job with a minimum of danger, but no matter how well thought out the mission is, even these mercenaries can't know what awaits them when they drop into Africa.

This review comes just a day after my Von Ryan's Express review, one of the great entertaining war movies ever made. More than that, just a great action movie. Well, surprise surprise, but I put this 1979 mercenary-centric action/drama on the same level. Is it a great movie in the vein of The Godfather or Lawrence of Arabia? Heck no, but it doesn't need to be! I watched a version that was 128 minutes long, and it is one extended thrill ride from beginning to end. Director Andrew McLaglen is far from a great director, but this is one of his best (if not THE best) movies. It is gritty, graphic, rough and tumble and the definition of a great tough guy flick. This is a movie that earns it's "Guy's Guy" type of movie, even if that theme song (listen HERE) seems a little out of place. But that's for the opening and closing credits. Enough with that. Let's get to the action!

Okay, not quite yet there with the casting. In the men-on-a-mission vein of The Guns of Navarone or Where Eagles Dare, here's one of the all-time great tough guy casts. The script calls for some older mercenaries, giving stars who weren't exactly A-list stars a chance at the spotlight again, and let me tell you, they don't disappoint. In a part of his career where the films weren't exactly great (an understatement), Richard Burton absolutely nails the part as Faulkner, a weathered, experienced mercenary who doesn't care for much other than the money he makes and the booze he can drink. Not exactly a stretch, but let's not nitpick. His officers include Harris as Janders, the master tactician and planner, Moore as Fynn, the born soldier who can fly or drive anything with a motor, and Kruger as Coetzee, the South African experienced bush fighter who has quite a few racist tendencies. They each get their moments to shine, the tough guy quartet killing it throughout with an easygoing, likable chemistry.

But wait....there's more!!! Along with Granger's quick appearance, there's Barry Foster and Patrick Allen as other shadowy characters involved in putting the mission together. Filling out the mercenary lineup are scene-stealing Jack Watson as foul-mouthed drill instructor Sandy Young, John Kani as Sgt. Jesse, the youngest of the bunch but an incredibly capable fighter, Kenneth Griffith as Witty, the flamboyantly gay medic, with Ronald Fraser, Ian Yule (an actual former mercenary), Percy Herbert, and Glyn Baker rounding out the crew. Also look for Jeff Corey and Frank Findlay in small parts. Just a cool, underrated supporting cast with plenty of memorable, recognizable faces.

Based off a novel by Daniel Carney and a Reginald Rose screenplay, one of 'Wild's' most underrated aspects is its script. Yes, it is familiar. Yes, it is politically incorrect one moment and somewhat preachy the next. But in the end, you throw it all together and all those separate ingredients work well together. It follows the men-on-a-mission formula nicely, going from assembling the team, to training the team, to unleashing the mercenaries on their dangerous mission deep in Africa, a regiment of brutal Simbas waiting to wipe them out if given the chance. There's too many good moments to mention from the Wild Geese free-falling out of a plane at 25,000 feet to Watson's hysterical rants during the training sequences to the almost non-stop smartass attitudes that produce a ton of memorable one-liners, some funny and some highly effective in the old drama department. Just a lot of positives on display here across the board.

But the biggest positive? The action of course! It's so good that the DVD actually offers a stand-alone menu where you can watch solely the explosions, shootouts and all sorts of hell that breaks loose. Without giving away any spoilers, the mission doesn't go off quite as planned, Faulkner and his men forced to improvise deep in enemy territory. Most of the last hour of the film is one extended action scene with some occasional dialogue to break things up. The highlight is the last 30 minutes, the mercenaries shooting it out with a large force of Simbas hell bent on stopping them from escaping. It's bloody, graphic and uncomfortable and features some surprising twists too as the body count rises ever higher. The action turns into a chaotic chase across the African savannah, lines and flanks shifting minute to minute. What an action movie.

This can be a difficult movie to track down. Years ago, I was lucky enough to track down a Tango DVD of this 1978 mercenary flick. It's currently available at Amazon for a very reasonable $12.99 if you're curious. As I mentioned, is it a perfect film? Nope, and again, it isn't meant to be. Instead, it is pure escapism, pure entertainment, and for me that's all I'm looking for. Familiar but highly entertaining story, action to burn and one of my all-time favorite casts. Can't recommend this one enough.

The Wild Geese (1978): ****/****
Rewrite of June 2009 review

Objective, Burma!

With any actor or actress with a devoted fan following, that following is going to have differing opinions. What is your favorite film? This one or that one? All of them? When we're talking about an actor who worked over multiple decades, it gets that much tougher. Take Errol Flynn who started working in the 1930s and stayed in films through the 1950s. He's got more than a few gems to his name, but my favorite is and always will be 1945's Objective, Burma!

It's 1944 in Burma and Allied forces are preparing to invade the country they were kicked out of by Japanese forces two years earlier. The men across the branches are just waiting for their orders. Among the forces waiting to unleash the attack is Capt. Nelson (Flynn), an officer in command of a platoon of paratroopers. With his friend and second-in-command, Lt. Sid Jacobs (William Prince), Nelson will lead a behind the lines mission into Burma, his men tasked with finding and destroying a key radar station used by the Japanese forces. A 2,000 man garrison isn't too far away from the radar station, meaning Nelson's paratroopers must drop in miles away and find the hidden radar station, all the while avoiding thick Japanese patrols. With a newspaper reporter, Mark Williams (Henry Hull), along to report on the mission, the paratroopers take off from their base with a dangerous mission ahead of them. As prepared as they are though, nothing can really prepare them for what awaits.


What a great movie, one that qualifies in the overused at times but appropriate 'They don't make them like that anymore' category. As far as pure action/adventure movies go, this 1945 WWII flick from director Raoul Walsh is simply hard to beat. It was released in theaters in early 1945, the war winding down but the fighting still very much going on both in the Pacific and Europe. It was a movie ahead of its time, patriotic but not flag-waving and propaganda thankfully. With an Oscar-nominated score from composer Franz Waxman (one that would be used again in the similarly-themed Merrill's Marauders), the action in the 142-minute movie is always on the go, never really slowing down. You feel like you're there with the soldiers, seeing their exhaustion, beards and facial hair appearing as the mission goes awry. It's the perfect popcorn movie, but there are other layers and levels to appreciate. A war movie that still resonates almost 70 years later.

At the tail end of his heyday in terms of popularity, Flynn is the without a doubt, no question star here. I love his performance, especially because he switches things up a bit. Flynn was Robin Hood, a pirate, a swashbuckler, a ladies man, but here, he is just a very capable, very tough and well-liked officer. His Captain Charlie Nelson has been tasked with a dangerous mission that will prove essential to the Allied war effort. Is he rattled, even nervous? Yes, every minute, but he embraces it, hides the feeling away and shows that confidence and even a little bit of a swagger so his men need to see. Flynn was an underrated actor -- for me at least -- but that's one of his biggest attributes. He was confident. He was cool, smooth, and he looked like he belonged on-screen. If it looks like he's not acting, that's the work of an actor who could make it look effortless. At one point with the mission in doubt, one of Nelson's men encourages the other men with "I'd follow him down the barrel of a cannon." Little schmaltzy? Sure, but it works in context, and you see why. I'd follow Errol Flynn into battle too!

Take a look at the cast and you see some names and faces you recognize, but this is Flynn's movie. The rest of the cast becomes part of the unit picture, men brought together from disparate backgrounds forced to work together to get the job done. I liked Hull's journalist, a crotchety old writer trying to tell the story of the soldiers. Nelson's friendship with Prince's Jacobs certainly adds another layer to the story as well. As for Nelson's paratroopers, look for James Brown, George Tobias, John Alvin, Richard Erdman, Joel Allen, and uncredited parts for Anthony Caruso and George Tyne in uncredited parts. Warner Anderson and Hugh Beaumont (Beaver Cleaver's Dad) play higher-ranking officers while Mark Stevens gives a solid supporting part as Lt. Barker, a pilot with the closest ties to Nelson's paratroopers. I liked Tobias, and there's another paratrooper I can't identify by name who has a great bit with a Japanese soldier.

There's so much good going on here, things I picked up on during a recent viewing. It is that perfect war action movie, but it's more. There are a handful of scenes that really resonate, giving an eye into the eyes and thoughts of the paratroopers. Prior to jumping into Burma, the camera moves along a row of faces, the men reacting differently to their upcoming jump and mission. When the mission goes awry, we see the looks on their faces when they have to adjust on the fly. I thought the highlight though was when Nelson and his men come across the mutilated bodies of the paratroopers who didn't make it, the result of a Japanese ambush. One soldier remains, Walsh filming only the man in a door frame so we can't see what's been done to him. We only know he's been cut up, shot up, and he's bleeding out. Over the course of the movie, we see the exhaustion set in, the frustration weighing on all their shoulders. An epically exciting action movie? Yes, and much more.

That is one of the huge appeals for 'Burma.' The action is everywhere, and it doesn't disappoint. The attack on the radar station is the biggest set piece, the rest of the shooting all about the tension and the chase. We don't see the Japanese in frame a lot, but their off-screen presence is a menacing, intimidating cloud hanging over the paratroopers just waiting to strike. The final sequence is especially effective, the pursuing Japanese trying to infiltrate the paratroopers' position on a lonely isolated hill marked by trenches and foxholes. Filmed in the dark with little music, it is a doozy of a success. The whole movie is, one of the great war movies around.

Objective, Burma! (1945): ****/****

Kelly's Heroes

Growing up, I always associated Memorial Day Weekend with the war movie marathons on TV that dotted TNT, AMC and Turner Classic Movies. I ate them up -- still do -- as I watched as many as I could. They're still some of my favorite movies, everything from The Dirty Dozen to The Devil's Brigade and one of my favorites, 1970's Kelly's Heroes.

It's fall 1944 and Allied forces are fighting their way across France, the German army slowly being beaten back. At the forefront of the Allied advance, a recon platoon, including Sgt. Big Joe (Telly Savalas), are worn down after months of fighting. One member of the platoon, Pvt. Kelly (Clint Eastwood), stumbles across an interesting tidbit of information while interrogating a German colonel. There is 14,000 bars of gold -- worth $16 million -- in a bank just waiting to be plucked. The catch? The bank is 30 miles behind German lines. Joe manages to convince both Big Joe and the platoon to navigate through the lines and get their hands on the gold. With a scrounger/supply sergeant, Crapgame (Don Rickles) and three Sherman tanks commanded by a hippie, Oddball (Donald Sutherland), along for the ride, Kelly and his motley crew of soldiers head out with a chance to net quite the payday.

What an appropriately timed World War II movie. By the late 1960s, the tone of war movies had changed from the big epics to the more cynical/comedic variety, movies like MASH and Catch 22 among others. Enter Kelly's Heroes, directed by Brian G. Hutton (who also directed Where Eagles Dare), one of the most entertaining war movies I've ever seen. Cynical with a dark sense of humor but also some lighter moments -- courtesy of Sutherland's hippie tank commander -- with some great action, memorable score, and one of those perfect tough guy casts. There's a reason it remains a fan favorite 40-plus years later, and much of it because it blends all those things together so effortlessly. Even an odd-sounding theme, Burning Bridges, fits perfectly in an odd way. It is one of my favorite movies and always will be, a classic war flick that I can sit down and watch whenever it pops up on TV.

Can you ask for a better lead quartet than Clint Eastwood, Telly Savalas, Don Rickles and Donald Sutherland? Yeah, there has been casts with bigger star power, bigger name recognition, but it's more than that here. This is four tough guys having fun, on-screen chemistry that's just hard to describe. They all get their chance in the spotlight. Eastwood is Eastwood, the impeccably cool and man of few words hero. Savalas is a subtle scene-stealer as Big Joe, the unofficial commander of the recon platoon (Hal Buckley playing the clueless real commander Capt. Maitland), just trying to get his men through the fighting unscathed and a somewhat unwilling participant in the gold heist. Rickles is an out of left field choice to join the cast, but it works, his Crapgame a smart-ass New Yorker always with an eye for a profit. And then there's Sutherland as Oddball, the tank commander always talking about positive waves (No Negative Waves, man!), his Zen-like qualities, heading into battle with music blaring and shells filled with paint waiting to be unleashed on the Germans.

As a fan of guy's guys movies, it's simply hard to beat those four stars. They make it look downright easy. Much of that chemistry and success comes from the script written by Troy Kennedy-Martin, a script with too many great one-liners to even mention. We see familiar character archetypes, familiar war movie situations -- stumbling into a minefield, prepping for battle -- but there's a different energy to the whole thing. It's that tone that blends the drama, comedy and action so easily that makes it work. Carroll O'Connor too is excellent in a part that lets him ham it up as General Colt, the fiery division commander who's frustrated with the stagnant front lines, getting a jolt of energy when Kelly's screwball force unintentionally opens things up all along the front. There's something to be said for a movie that is non-stop fun. It never gets heavy-handed or obvious like some more message-oriented war movies.

When the platoon looks back on a field where some of their fallen comrades lay dead in the dirt, there's no words that need to be said. The looks on the surviving men's faces says it all. Showing he's putting on appearances for his men, Big Joe turns and raises his binoculars to check one last time. The dynamic is there from the lead quartet right down to the platoon, a group of recognizable character actors clearly having some fun. The platoon includes Little Joe (Stuart Margolin), Big Joe's radioman, Cowboy (Jeff Morris) and Willard (Harry Dean Stanton), two drawling best buds, Gutowski (Dick Davalos), the sniper, Petuko (Perry Lopez), the smooth, goofy ladies man, Cpl. Job (Tom Troupe), Joe's second-in-command close friend, Fisher (Dick Balduzzi), the platoon genius, and Babra not Barbara (Gene Collins). Also, you can't forget Gavin MacLeod as Moriarty, Oddball's mechanical genius and constant provide of negative waves.

Also look for Seinfeld's Uncle Leo, Len Lesser, as Bellamy, an engineer Oddball ropes into helping the cause and Karl-Otto Alberty as a German tank commander who goes up against Kelly's forces and Oddball's tank trio.

With a 146-minute running time, we've got plenty of chances for guys being guys and plenty of action scenes. We get lots of action -- escaping a minefield, a tank attack on a railway station, the platoon racing through a German crossroad under mortar attack -- but the best is saved for last as the platoon descends on Clermont, the town where the bank and the gold are waiting. It's an extended sequence that runs about 35 minutes that doesn't rush into it. We get almost 10 minutes of the men and the tanks sneaking into town while the German garrison slowly wakes up, composer Lalo Schifrin's score driving the action. The entire movie was filmed in Czechoslovakia, the action finale filmed in the village of Vizinada. It's an extended sequence that is hard to beat.

Just a great movie overall. Great cast, incredibly quotable, lots of action, memorable soundtrack (Quentin Tarantino is a big fan of the score, especially Tiger Tank), and even a nod to Eastwood's spaghetti western background with a three-way showdown with said tank. One of my all-time favorites and hopefully you'll enjoy it just as much as I do.

Kelly's Heroes (1970): ****/****
Rewrite of August 2009 review

The Losers

Well, it's time to take a trip in the Way-Back Machine. Yep, we're going all the way back in April 2010 when I was relatively new to this whole blogging thing. Some movies need a revisit, like 2010's The Losers, an ultra-entertaining action flick that my cousin got me for a birthday present a couple years back. Timely, no, but I caught up with it this weekend. Yes, still an excellent, entertaining movie.

An elite black-ops team working with the U.S. Special Forces has been deployed into Bolivia to take out a compound run by a drug cartel. Headed by their commander, Clay (Jeffrey Dean Morgan), they've worked together for years, including Roque (Idris Elba), Jensen (Chris Evans), Pooch (Columbus Short) and Cougar (Oscar Jaenada). The mission isn't everything it seems to be, the team rescuing a group of 25 young children being held as drug mules and hostages. The kids board the helicopter intended for the team, but the helicopter is struck by a missile. Clay and Co. have become targets. Who wants them dead? More importantly, why? The man's name is Max (Jason Patric), a C.I.A. operative gone rogue. Trapped in Bolivia and believed dead, the Losers are left with no alternatives, getting help from a beautiful, mysterious woman, Aisha (Zoe Saldana), who promises to help them. Can this group pull off the impossible and survive the suicide mission ahead of them?

Hitting theaters in spring 2010, 'Losers' received middling reviews and did okay in theaters but was far from a hit. It seemed to have some horrific timing, released in a wave of men-on-a-mission movies like The A-Team (June 2010) and Takers (August 2010). Of the three, I liked this one best, director Sylvain White turning in a stylized, fun, shoot 'em up that more than holds up on a repeat viewing. Does it rewrite the genre? In a word? No. It doesn't need to. It is one of those perfect popcorn movies. Just sit back and watch it, clocking in at an action-packed 97 minutes. Very stylish, lots of cool characters, bullet and explosion-riddled action scenes. An easy movie to recommend. Too bad it didn't do better in theaters. I would have loved to see where the Losers went from here.

What works so well is the casting, and probably was at least part of the movie's struggles in theaters. There just ain't a ton of star power on display here. Now for me, I count that as a positive, but we're not talking Ocean's 11 star power to round out the Losers. The dynamic works, the men-on-a-mission premise that's one of my favorites. Each team member has a specialty, Clay the no-nonsense leader, Roque an expert in tactics and detonation, Jensen the nerdy tech specialist, Pooch able to drive anything with an engine and wheels and Cougar proficient in long-range eliminations (Yes, we've got ourselves a sniper). Their backstory is never spelled out, just hinted at, but we know they're damn good at their job...right up until they're betrayed and left out in the dark. Of the group, there's no weak spots, but I especially liked a scene-stealing Evans ("That's right. I've got a crossbow, bitches."), Morgan, Elba, Short and Janeada all getting their chances to shine too.

'Losers is actually based off a graphic novel series that was adapted into a screenplay written by actor/director Peter Berg and James Vanderbilt. And that's where we get a surprising angle on the movie. With graphic novels, character development isn't the first thing that comes to my mind, but here it is an essential part of the story. We get that development through dialogue, lots of quick, fast-firing conversations among the team. One that especially stands out has Jensen and Pooch debating whether to take a car or not, the back and forth coming in almost monosyllabic grunts, one-word answers in rapid fire succession. If there isn't more star power, so be it. The chemistry with the cast is spot-on perfect from beginning to end. This is a fun movie, and the cast is clearly having a ton of fun making it. We've got tough guys on a suicide mission with lots of action, funny, memorable one-liners and a great chemistry. That's a winning formula if you ask me.

Adding some sex appeal to the action-heavy hijinks is Zoe Saldana as Aisha, a mysteriously beautiful woman who wears slinky and/or tight outfits but who can also handle herself when the bullets start to fly. What's her motive? What's her end-game? Well, that's part of the fun. Hamming it up and clearly enjoying himself is Jason Patric as the maniacally evil Max. It's a ridiculous character, but Patric commits and it works in a big way. This is a villain that seems ripped from so many over-the-top 1980s action movies, but it fits right in with all the craziness. Holt McCallany plays Wade, Max's much-maligned enforcer, the straight man to Max's off the wall antics.

Onto the action! There's no time to waste in a 97-minute movie so in between scenes of the team bitching and moaning, ripping each other almost non-stop, we get action. LOTS of action. The opener at the drug compound sets the tone, quick and flashy and fun. The same later for almost back-to-back sequences, the Losers taking out Max's heavily armored convoy in Miami, the follow-up Jensen trying to navigate a well-guarded building with security on his tail. The obvious high-point is saved for the end though, the Losers forced to stop Max (and his diabolical, ecological-minded plan) at the Port of Los Angeles -- because all action movies require a good shootout at the Port of L.A. Like the whole movie, it's fun. Get some popcorn, sit back and appreciate it for all its entertainment value. Your time will not be wasted.

The Losers (2010): ***/****
Rewrite of April 2010 review

Hit!

Though he has starred in countless films and television shows, I can't say I've seen Billy Dee Williams in more than two or three movies. And yes, those movies are the Star Wars movies. As roguish Lando Calrissian, he left quite the impression, but what about all those other movies? Well, let's start here with 1973's Hit!

A veteran government agent, Nick Allen (Williams) is on a mission. His teenage daughter has died from a heroin overdose, but Allen can find no one who will do anything about the dealer, pushers or suppliers, leaving his daughter's memory haunting him. With no options in front of him, Nick improvises, deciding to take the fight to the drug suppliers in Marseilles. He can't do it by himself though and without the backing of the government, he's forced to recruit an odd team of vigilantes to aid the cause. His incentive to convince these individuals? Each and every one of them has been affected in one way or another by drugs -- themselves, their families, their friends -- so an opportunity to take the war back at the suppliers? Nick has his team but can this unlikely team somehow pull off the impossible mission he has in store for them?

From what I read about this 1973 action flick, it sounded like I was heading into a blaxploitation flick full of black power and white hate. Yeah, about that....nope. I was surprised by what film I ended up getting. From director Sidney J. Furie, 'Hit' is a fun if dark, pretty entertaining movie that does try to deliver a message. Thankfully, it's not overdone. That message? The U.S. government isn't doing enough to curb drug trafficking into the states, if doing anything at all. Williams' Nick Allen hits his breaking point when his daughter dies from an overdose. Even when Nick presents his superiors with a gimme of a case, his requests fall on deaf ears. It isn't the message that's overdone, but instead a script that is a tad too leisurely at 134 minutes.

What's more surprising is the portions of 'Hit' that are far too leisurely. I love a good specialist movie, a good, old-fashioned men-on-a-mission movie, and at its heart that is what this movie is. In seeking out help for his mission overseas, Allen seeks out an odd assortment of people who form the unlikeliest of specialists. His crew includes Mike Willmer (Richard Pryor), a widower who saw his wife raped and murdered by a drug addict, Barry Strong (Paul Hampton), an ex-soldier who got involved in drugs during his tour in Vietnam, Sherry Nielson (Gwen Welles), a prostitute with a heroin addiction, Dutch Schiller (Warren J. Kemmerling), a frustrated cop who keeps seeing his arrests come up empty, and Ida (Janet Brandt) and Herman (Sid Melton), an old married couple that saw their son die because of his drug addiction. An emotional investment in these characters is a positive, but 'Hit' takes far too long in Allen's recruiting. These little episodes just take their time too much. Well over an hour is spent on the recruiting process, leaving the actual mission as almost an after-thought.

Oh, and Billy Dee Williams is very cool. We're talking effortless cool, the same cool he brought to Lando Calrissian a few years later. We see little snippets of his anger poking through, his extreme frustration at a system that allows deaths like his daughter's. As the leader of his specialists and vigilantes, he isn't recruiting mercenaries looking for a payday, just individuals looking for vengeance in one form or another. I liked that dynamic from beginning to end. Of his vigilantes, I especially liked Richard Pryor as the widowed husband who's calm and cool....until you mention his wife. It's a part that has some comedy, some drama and mostly shows what a talent Pryor was bouncing back and forth between the two. The rest of the cast is okay -- I liked Kemmerling as the tough street cop always on the search for a hamburger -- without a ton of star power.

In a crime action-thriller like this, a couple action sequences stand out. The obvious is the Godfather-esque finale, Allen's team unleashing surprise attacks on a handful of very rich, well to do drug suppliers as they go about their daily extravagances in Marseilles. It is a cool sequence, hard-hitting, aggressive and bloody but it feels almost rushed. Solid but could have been better. An early car chase is pretty cool, two hit men trying to knock off Allen before he can put his plan into action.

In general, I liked this movie. It should have been better. I liked its grittiness, its vulgarity in its dialogue, its aggressive qualities across the board. Billy Dee Williams and Richard Pryor are cool, and really, do you need anything else?

Hit! (1973): ** 1/2 /****

The Monuments Men

I'm weird when it comes to movies. When I catch wind of a film in production, of an actor being attached to a project, stumbling across a trailer, I look forward to said movie like a crazy person. We're talking kid on Christmas Eve excited. Over the years, I've looked forwarded to The Alamo, Skyfall, Casino Royale, the Dark Knight series, the Fast and Furious movies, and most recently released in theaters, 2014's The Monuments Men. Where does it fall among that list? Read on.

It's mid-1943 and the tide of World War II is quickly turning to the Allies, the Axis retreating on almost all fronts. An American officer, Frank Stokes (George Clooney), with an art background is proposing a plan to President Franklin Delano Roosevelt as the tide turns, presenting an idea for a small squad of specialists and experts in art, architecture and history and dropping them into the war zone in France. Their goal is simple, try and save as much famous and historical art, statues, structures and buildings across Europe. Germany, the Third Reich and the Nazis -- led by Hitler and Goring -- have been stealing and stockpiling priceless pieces of art for years, more than that stealing hundreds and thousands of years of history and culture. Stokes gets his right-hand man, James Granger (Matt Damon), and goes to work assembling his small team. The war is definitely turning though, the Germany army retreating all along the front. Countless pieces of art, treasures and items of historical significance are at risk, the Germans having received an order from Hitler to destroy everything they can.

This story is a prime example of how powerful history can be. There are countless stories out there just waiting to be told. This WWII story with Clooney directing (and co-writing the script with Grant Heslov) is based off a true story and the book of the same name (check it out HERE by author Robert M. Edsel). The fact that this really happened -- the Germans hoarding history's treasures, the Allied effort to recover said treasures -- is pretty crazy in itself, a hugely interesting and entertaining premise. I loved the book, a window into a chapter of WWII that was almost completely forgotten by history until the last 20 years or so. It was fascinating and terrifying all at once, unlikely heroes in an unlikely situation. I was worried then when Clooney's film was pushed back from an original December 2013 release to a February 2014 release. Should I have been worried?

Unfortunately, yes. It's a good movie that entertained me. The truth is though with the story at hand, the real-life incidents, the flesh and blood people, it could have been a classic. A true classic, and it isn't. The positives are obvious. There is a throwback feel to the story reminiscent of so many good 1960s World War II movies. Clooney clearly has a ton of respect for his subject matter and rightfully so. What these Monuments Men accomplished in a live war zone is remarkable, and yes, there were casualties. For a cliffsnotes version of what the force/organization accomplished, read HERE. This is a movie interested in really illuminating what these men accomplished. They were soldiers, if not the classic idea of what a soldier is. The movie is gorgeous, filming on location in Germany adds a perfect sense of authenticity to the story. The score from Alexandre Desplat is okay, nothing too memorable, a little too adoring at times. There's a lot going for it but.....

There's also a lot of negative to mention. A couple hours after watching 'Monuments,' it's hard exactly to say why. The task in transitioning Edsel's book to a manageable film is daunting. We're talking almost double-digit characters traversing across Europe over a year-plus. The result in Clooney's 118-minute long film? A generally disjointed feel with no real unifying link to the characters and set pieces. Episodic is a more than apt description, one episode, one bit or routine bouncing to another as quick as it arrived. The early portions are rushed, characters introduced far too quickly. The middle portions drag as if the script doesn't know exactly how to get to where it wants to go. The finale definitely is the saving grace, the Monuments Men traveling deep into Germany to rescue extraordinary amounts of art. It's disappointing because I expected so much more. The drama is good but not great, wandering too much aimlessly, and most of the attempts at wry, subtle humor fall short.

The movie's savior and strongest attribute is the cast that almost makes up for the disappointing script. If Clooney is attached to a project, it instantly has cache for me. He's good, not great, leading the ensemble as Lt. Frank Stokes (based on George Stout), the creator of the Monuments Men. Damon has the more scene-stealing part as James Granger (based on James Rorimer), the art director at the Metropolitan Museum in NYC. His subplot with Claire Simone (Cate Blanchett), a volunteer who survived years in Paris in efforts to protect invaluable pieces of art, is a cool departure from the story, including a great scene where Claire (based on Rose Valland) reveals a huge secret to Granger. The rest of the Monument Men include Campbell (Bill Murray), an architect, Garfield (John Goodman), a sculptor, Clermont (Jean Dujardin), a French artist, Savitz (Bob Balaban), an art expert of sorts, Jeffries (Hugh Bonneville), a disgraced Englishman, and Epstein (Dimitri Leonidas), a young soldier who grew up in Poland, now working as the group's translator.

While the formula is tweaked, the premise here at its heart is a 'men-on-a-mission' movie, Clooney's Stokes assembling a small group of specialists to help pull off an impossible mission. The formula is rushed too much to the point I never really felt I knew any of the characters. I felt like we were supposed to root for them because it was Bill Murray, because it was John Goodman, not because we get to learn anything about them as individuals. Like so much of portions of the movie, I came away disappointed with the characterization. The acting is uniformly good but cold for lack of a better description. Some parts work very well, especially Goodman and Dujardin teaming up as the group is split up to cover more ground. Murray and Balaban are the odd couple, almost constantly arguing, but overall, it's just more wasted potential.

I'm wavering here. This movie seemed like a gimme for me, a sure thing review at 3.5 or 4 stars, but it wasn't. Some moments work perfectly, like a Christmas montage as we see the war starting to wear on all the Monuments Men, a message from Murray's daughter playing on a phonograph. A late interrogation between Clooney's Stokes and an SS officer is foreboding and subtle at the same time. the last 30-40 minutes pick up the momentum, providing the movie's strongest moments. Getting there though can be a trial at times. Most of the issues can be chalked up to the script that falls short in so many ways. A disappointingly average film that should have been so, so much better.

The Monuments Men (2014): ** 1/2 /****

Gangster Squad

I'm a simple guy when it comes to movie. Entertain me, and I'll be pleased. Not every movie needs to be some groundbreaking, never before seen story that rewrites how films are made. Take 2013's Gangster Squad. It has taken a ridiculous amount of heat because.....I have NO IDEA. It is familiar in a way, but it's stylish, entertaining and action-packed with a ridiculous, loaded cast. Screw all the Debbie Downers. I loved this movie.

It's 1949 in Los Angeles and former boxer turned gangster Mickey Cohen (Sean Penn) is taking over the city bit by bit. Gambling, prostitution, drugs, Cohen is buying up cops, judges and politicians left and right as fast as he can. One of seemingly few clean cops, Sgt. John O'Mara (Josh Brolin) is fed up with what he's seeing in a city he wants his family to grow up in. He's approached by the similarly clean police chief, Parker (Nick Nolte), with an offer; assemble a small crew of officers and take the war to Cohen. O'Mara's squad will work as their own separate unit, completely removed from the laws and rules that would typically limit officers. He puts his crew together, including roguish Jerry Wooters (Ryan Gosling), and goes to work, attacking casinos, bars and clubs all over the L.A. area. They immediately find success, but it's only a matter of time before Cohen figures out who's gunning for him. Can O'Mara's Gangster Squad take Cohen's illegal businesses out before he gets to them?

There is little to nothing I didn't like about this movie. Playing like a modern film noir, it's a gem of a flick. It plays like a mix of L.A. Confidential, The Untouchables and The Magnificent Seven. If you put those three movies together and can't get a winner, then you're doing something wrong. Director Ruben Fleischer (Zombieland, 30 Minutes or Less) is at the helm of a damn entertaining movie. It feels like a throwback film to the Hollywood glory days with a huge cast -- much, much more on that later -- to go with a well-written script, exciting, well-choreographed action and a story that never really slows down. More than anything, it is just F-U-N. That's all. There are good guys and bad guys, cops and gangsters, a femme fatale and not a damsel in distress. Is it so wrong for a movie to just be entertaining? I read a surprising amount of reviews that were highly critical of this movie. Maybe I missed something, but I loved it from beginning to end.

Watching the trailer for the first time last year, I have no doubt my eyes were as big as dinner plates. A movie about cops and gangsters in post-WWII L.A. already drew me in, but with this cast?!? It's a ridiculously deep, very talented cast. Because there is so much talent assembled, we're not talking in-depth character studies, but there isn't a weak part in the bunch. For starters, Josh Brolin as the hard-headed, stubborn O'Mara is a hero cop gem. A WWII veteran, he's sick of Cohen and his antics so given a chance to take him down a whole lot of notches, he jumps at the chance. He has a pregnant wife (Mireille Enos) weighing on his mind, but he wants to get the job done, on principle alone. Brolin is aided by Ryan Gosling as Wooters, the cop who sees what L.A. has become and just doesn't care too much, but he's given a reason to care while also getting the love interest, Grace (Emma Stone), Cohen's girl. Uh-oh, more issues!

The names already mentioned would be enough for most movies, but not this one. Penn gets to ham it up as real-life boxer turned gangster Mickey Cohen, sneering and intimidating his way into the part. This is an out-and-out villain, a bad guy you just love to hate and can't wait to see get taken down. Nolte makes the most of his smallish but effective part as Chief Parker, the chief of police who sends O'Mara on his dangerous, illegal mission. Also look for Sullivan Stapleton as Jack Whalen, a bookie and friend of Wooter's working in Cohen's organization (a supporting but excellent part), Holt McCallany as Lockwood, Cohen's bodyguard and enforcer, and Troy Garity as Wrevock, a hired killer working for Cohen.

Not surprisingly, a certain part of the cast caught my eye....O'Mara's Gangster Squad! Uh-oh, it's another men-on-a-mission movie! Assemble a crew of misfits and specialists and let them go to work. How can you lose? Brolin and Gosling are the stars, showing off that hero-sidekick chemistry that every group of specialists needs. But wait, there's more! Rounding out the crew/squad are Harris (Anthony Mackie), a specialist with gun or knife looking to clean up the streets of drugs, Keeler (Giovanni Ribisi), a WWII intelligence officer and expert in radio technology, Kennard (Robert Patrick), the veteran cop and part-Wild West lawman who favors a six-shooter, and Ramirez (Michael Pena), a young Mexican officer who's looked down upon by much of the rest of the force. It's a good group of some really solid actors, all comfortable and willing to take a supporting part to flesh out an impressive cast.

Originally supposed to be released in summer/fall 2012, 'Gangster' was pushed back for re-shoots following the Aurora shooting at a movie theater. What remains is still an action-packed movie that will appease most moviegoer's needs for some shoot 'em up action. The script never goes long without a gunfight or shoot out of some sort. A couple different sequences stand out, including a failed ambush in a busy street in Chinatown and the finale at Park Plaza Hotel especially leaving their mark. It's pistols and machine guns to aid the throwback feel with some pretty cool uses of slow-motion without going overboard. Bloody but not overly graphic, the action sequences are just another selling point.

It's hard to describe this movie without describing the style. The late 1940s (and heading into the 1950s) were an inherently cool time looking back on them. Cops and police officers wore a suit, tie and a hat. The cars were ridiculously cool, the streets even more so, and Fleischer and Co. took that to heart. Part of the appeal here is the look of the movie, like we were transported to 1949 Los Angeles. Just like a scene where O'Mara and crew walk away from the L.A. City Hall, there's a cool factor that's hard to touch or classify. It's stylish and cool....because it is. How about a montage of the Squad doing their work to big band music? It works. There is style on display in every scene whether it be the clothes and sets or the quick, speedily delivered dialogue. I liked everything about this movie and look forward to future and repeat viewings.

Gangster Squad (2013): ****/****  

Wild Geese II

Stumbling across the DVD for 1978's The Wild Geese about five years ago, I was one happy movie fan. An all-star cast and wall-to-wall action in a men-on-a-mission movie, it quickly became one of my favorite movies. A sequel was made some seven years later, but it received generally negative reviews and hasn't even approached the cult status of the original. It is one hard to find movie, but I kept on looking just the same and found it, 1985's Wild Geese II.

A former soldier, Lebanese-American John Haddad (Scott Glenn) has become an effective if high-priced mercenary. Working out of London, he is approached with a seemingly suicidal mission. One of the last remaining Nazis, Rudolf Hess (Laurence Olivier), is wasting away at Spandau Prison in West Berlin having lived in almost complete isolation for 40-plus years. This group is willing to pay whatever it takes to get Hess out, basically offering Haddad a blank check for his services. Looking over the layout of the prison while also planning ahead for what he hopes is an easy getaway, Haddad agrees to take the job. He recruits an old friend and fellow mercenary, Alex Faulkner (Edward Fox), to help him with the job, but upon arriving in Berlin, the duo finds out that their mission isn't so secret. Several underworld types and other intelligence representatives are very aware of what they're up to. Can they still pull off the job?

If I love a movie -- maybe even just really like it -- I'm usually psyched to find out there's a sequel out there for my viewing pleasure. Without giving away any major spoilers, I can say that the original didn't seem to leave much room or storylines for a follow-up story. The only real link (other than an oddly pointless prologue showcasing the original) is that Fox's Alex is the brother of Richard Burton's character from the first movie. Other than that? It's just your typical mercenary action movie, this one from director Peter R. Hunt. While it is far from a classic action movie, I did enjoy it for what it is; a somewhat deliberately paced men on a mission movie with a unique location (the Berlin locations especially stand out). Maybe it's better if it was a stand-alone film, but it ain't so here we sit just the same. Don't expect too much and you should get some entertainment out of it.

Besides the differences in story, the biggest gap between the original and sequel is the lack of star power. Where the first movie had Burton, Roger Moore, Richard Harris and Hardy Kruger among others, the follow-up doesn't have many names that jump off the page. Glenn is solid if unspectacular as Haddad, the chiseled, efficient mercenary who hasn't met a job he won't take on. It's a good anti-hero part, but I never found myself rooting for him. Fox is more of a scene-stealer, hamming it up as the malaria-ridden Alex, a fellow mercenary who always seems to be in the right place at the right time. Robert Webber makes a quick appearance as McCann, the leader of the group who wants Hess with Barbara Carrera as his on-site specialist working with Haddad.

Enlisted to write a follow-up novel to his Wild Geese, author Daniel Carney turned around and wrote The Square Circle, the basis for this sequel. I've yet to read it (currently seeking out the novel), but I'm very curious to see how much the movie differs from it. For starters, the reasoning here for busting Hess out of Spandau seems forced to say the least. Webber's McCann works for a major TV news network who wants to interview Hess about people he worked with, people with higher up positions in other country's governments. Really? A TV network organizing a prison breakout? I don't buy it. There had to be a better choice to reason paying a mercenary to bust a Nazi war criminal out of prison. Second, the ending is brutal. It basically washes away the previous two hours, throwing it in the nearest garbage can. It is a lazy ending, wrapping things up because....well, because. It just ends. Weak stuff.

There is the potential here for a pretty decent movie, and I say that having liked it in spite of its flaws at times. All the intrigue and suspense works well as Haddad must elude hired Russian killers while also dealing with Russian (Robert Freitag) and English (Kenneth Haigh) officials, juggling it with how to manage the breakout and getaway. Even look for future Capt. Picard Patrick Stewart as a Russian general! The mission itself over the last 40 minutes is the high point by far, Haddad's intricate plan coming together detail by detail. Too bad the follow-up is just plain bad.

One other thing, more wasted potential as Haddad puts his team together to pull off the mission. Along with Fox's Faulkner, there's Ali (Stratford Johns), the well-connected underworld member, Hourigan (Derek Thompson), the hateful IRA gunman, Murphy (Paul Antrim), the drill sergeant, Michael (John Terry), the TV network rep, Pierre (Malcolm Jamieson), the driver, and Joseph (David Lumsden) and Jamil (Frederick Warder), two Middle Eastern men. Little background is given to any of these characters unfortunately, leaving more untapped potential.    

Wild Geese II (1985): ** 1/2 /****

Where Eagles Dare

With his novel The Guns of Navarone (and its film version), author Alistair MacLean deserves an all-time spot in the impossible, suicide, men on a mission genre. Not all of his novels are winners, especially some of his later entries, but as far as success goes, 1968 was a year that was hard to beat for the author. Two of his novels were made into highly successful adventure movies, Ice Station Zebra and Where Eagles Dare.

It's the winter of 1944 and an American general's plane with knowledge of the coming Second Front has crashed in the Bavarian Alps. Captured by German forces, General Carnaby (Robert Beatty) is sent to the Schloss Adler, a mountain fortress home to the SS in the district. A commando team headed by Major John Smith (Richard Burton) is being parachuted into the mountains disguised as German soldiers. Their mission is straightforward if extremely difficult; gain access to the heavily guarded, fortified castle and rescue Carnaby before German interrogators can get the information out of him that they need. On Smith's team are five fellow British commandos and one American Ranger, Lt. Schaffer (Clint Eastwood). Almost the second the team lands, things start to go wrong, and Major Smith isn't letting on everything he knows. Is there something else going on with this mission, more than the others could even guess?

The story of this movie comes from MacLean, who on a request from a producer and Burton wrote a novel that could be made into a fast-paced adventure film. MacLean wrote the novel which became a huge success and was quickly put on the fast track, the film getting its release in 1968. As far as war/adventure films go, there are very few that are more fun than this one. Better ones? Yes, but in terms of pure entertainment value, this one is hard to beat. Director Brian G. Hutton (Kelly's Heroes) does a fine job crafting a twisting, turning story that is almost secondary to the war-time shenanigans. Many reviews that you read are from viewers who were genuinely confused watching this flick. I don't blame them. It took me multiple viewings to pick up everything you need to know. 

The beauty of that statement is that this WWII espionage film can be enjoyed on different levels. We find out quickly that there's far more to the mission than we know. I won't reveal any spoilers here, but there's a-plenty of them! From the second the team parachutes into Bavaria, one of the commandos is killed by one of the team. What's going on? MacLean's script does a fine job parceling out hints here and there about the actual intent of their mission, finally revealing itself in a mind-bending, classic scene in a huge, Medieval-looking dining hall near the halfway point. The build-up is a little slow-moving, but it's worth it. Scenes you thought were pointless end up having key importance later in the movie. We see Smith and Schaffer prepping for their getaway days and hours in advance. We see the inner workings of this suicide mission. Not too many men on a mission movies go into such a detail, therefore setting 'Eagles' one step above so many other like-minded flicks.

Some pairings are just too perfect. Case in point, Burton and Eastwood. Burton as Maj. Smith is the highly capable, brutally effective and nearly brilliant secret agent and commando. He did a lot of acting parts in his career so it's great to see him do a movie that's just fun. It shows. It looks like he had a phenomenal time doing the part, his silky smooth voice, his smartass smirk ever-present on his face. And his radio call sign 'Broadsword calling Danny Boy' sounds almost Shakespearean in its delivery. As his American counterpart, Eastwood is given little to do other than look very cool, and he succeeds on all levels. Burton's Smith calls him a 'second rate punk,' an American Ranger and brutally efficient killing machine. Through all the craziness, it works. This is two pros who look to be having a lot of fun. Also in the team is Donald Houston, Peter Barkworth, William Squire, Brook Williams and Neil McCarthy.

Though Burton and Eastwood are in almost every scene, the supporting cast is solid just the same. Mary Ure plays Mary, a longtime fellow agent of Smith's (and some romance too) secretly along for the mission, with Ingrid Pitt as Heidi, an Allied agent working in the town below the fortress. Patrick Wymark and Michael Horden play Col. Turner and Adm. Rolland, two high-ranking officers back in Britain who knew the true intention of the mission. Rounding out the cast is some familiar faces as the evil German counterparts including Anton Diffring, Ferdy Mayne and Derren Nesbitt.  

While all the build-up, background and twists are fun, the movie's most entertaining feature is the finale. The truth of the mission revealed, Smith, Schaffer and Mary (with some friends along for the ride) must basically shoot their way out of the mountaintop fortress, causing as much chaos as they can along the way. Eastwood's Schaffer alone single-handedly dispatches a whole German division on his own. The shootouts in the dark, poorly-lit castle hallways are a highlight, but the coolest sequence has Smith fighting two Germans aboard a cable car hundreds of feet off the ground. Adrenaline-pumping action, it is a doozy. It's ridiculous action throughout, our heroes able to pick off enemy soldiers at will while the hundreds of enemy soldiers can barely manage to nick our intrepid heroes. And how many packs of dynamite can two men manage to carry? Apparently 385 by my count.

This is not meant to be a serious war film. It's meant to be a film you enjoy from beginning to end. The on-location shooting in Austria, including the Hohenwerfen Castle and in and around Werfen, are spot-on choices for accuracy and realism. As a topper, composer Ron Goodwin's score is big and booming and equally perfect, keeping the tension building and driving the action. Listen to the main theme HERE. In the vein of MacLean's The Guns of Navarone, this is a popcorn flick at its best. Sit back and enjoy Burton and Eastwood win WWII with pretty girls, plenty of action, and even more twists and turns in that ridiculously convoluted plot.

Where Eagles Dare (1968): *** 1/2 /****
Updated February 2009 review

A Reason to Live, A Reason to Die

I seem to have checkered pasts when it comes to tracking down hard-to-find movies that I really want to see. On first effort, something goes wrong; cable goes out, recording the wrong film/time, ninjas....that sort of thing. I actually saw this 1972 spaghetti western two years ago via Netflix streaming, but it was the heavily edited 92-minute version. It aired recently on MGM HD and was listed at the much longer, less-edited 111 minute version. Well, point to you MGM, you fooled me. It was the 92-minute version, but here's the review just the same, 1972's A Reason to Live, A Reason to Die.

It's early in the Civil War and as the fighting picks up in the Southwest, Colonel Pembroke (James Coburn), a disgraced Union officer, is looking for vengeance. He has been labeled a coward and a traitor for surrendering Fort Holman, a key position in the territory, to the Confederates without a shot fired. Now, he's got a plan to exact his revenge on the man who took the fort from him, a Confederate major named Ward (Telly Savalas). A frontal assault on the mountaintop fortress would be suicide so he intends to take the fort back on a nearly suicidal commando mission. Commanders won't grant him any troops so instead he ends up with a small squad of convicts, seven men he saves from the gallows, including a man from his past, Eli (Bud Spencer). His odds seem slim as his convicts squad seems more interested in killing him than completing the mission, but heavily guarded and fortified Fort Holman awaits.

It's pretty obvious watching the heavily-edited 92-minute version of this spaghetti western from director Tonino Valerii that some important and major portions of the story were edited. Much of the 20-to-25 minutes that were cut (lengths vary depending on sources) were from an opening prologue that establish how Pembroke and Eli meet in the war-torn Southwest. Instead, we get a dropped-in opening that actually gives away much of the ending. Ta-da, then we're back to the beginning -- sort of -- and away we go with the mission. At different times, the story does feel disjointed, out of sorts, a little rushed and at ends. Can I think of anymore cliches? Nah, that's good for now. The longer version was released on DVD via Wild East, but that DVD is currently worth $190 at Amazon so I don't see a viewing happening any time soon so for now, the heavily-edited version it is!

Now take the rest of what I'm about to write with a grain of salt. I love spaghetti westerns, and I love men-on-a-mission movies. So with that said, is this movie especially good? Nope, but I still liked it a lot. Obviously with the Civil War setting, this isn't your typical gunfighters and bandits spaghetti western. The Civil War background certainly adds a nice touch to a familiar genre. 'Reason' is also aided by some familiar locations from movies like Once Upon a Time in the West, The Deserter and others. The best use though is the fortress from El Condor, here as Confederate garrison Fort Holman. It appears gigantic and imposing, a fortress that's impossible to take down. It's a good-looking western, and the score from Riz Ortolani is a little schizophrenic but pretty cool. Give it a sample HERE with the main theme.

If the basic storyline sounds familiar, it should. It's a not subtle rip-off of 1967's The Dirty Dozen and countless other convicts turned commandos flick. Coburn is solid but nothing special as the revenge-seeking Pembroke, his backstory giving him a sympathetic edge, but he's mailing it in here. Spencer is the star, given more screentime and providing more interest in general. Savalas is given absolutely nothing to do in an appearance that is little more than a cameo. Pembroke's convict commandos lack the star power, basically a unique group of murderers/rapists/thieves and deserters that include Spencher's Eli, Sgt. Brent (Reinhard Kolldehoff), the Union NCO, MacIvers (Guy Mairesse), a murdering muleskinner, Wendel (Ugo Fangareggi), Pickett (Benito Stefanelli), a deserter and rapist, Fernandez (Adolfo Lastretti), a thief who doomed 30 Union soldiers with a bad deal, and a half-breed Apache (Joseph Persaud). The group reminded me of a similar convict crew in 1969's Play Dirty, unique faces with no real background who are meant to be picked off one-by-one. Cool group just the same.

Spaghetti western fans going in shouldn't expect much in the way of action or violence the first 50 minutes or so. If you're looking for a positive, it's this; they were saving all the action for the last 40 minutes!!! Pembroke and his convict commandos make their play attacking Fort Holman in an explosive finale that features an orgy of Gatling guns, explosions and some impressive stuntwork. Like the movie itself, it's a lot of fun. Yes, stupid fun with a whole lot of flaws, but fun just the same. Oh, and the name is one of the coolest ever.

A Reason to Live, A Reason to Die (1972): ***/****

Seal Team Six: The Raid on Osama Bin Laden

In the midst of awards season, director Kathryn Bigelow's Zero Dark Thirty is getting all sorts of Oscar buzz from Best Picture to Jessica Chastain for Best Actress. It's a movie I liked but didn't love, but I can appreciate the quality from beginning to end. The story of the hunt for Osama Bin Laden is a massive undertaking which 'Thirty' does well at tackling. How about a smaller budget straight-to-DVD version of the same story? Uh-oh, this could be bad, but here we go with 2012's Seal Team Six: The Raid on Osama Bin Laden.

As the years pass since the 9/11 attacks, the CIA, including an agent named Vivian (Kathleen Robertson), continue to search for clues that will ultimately lead to terrorist Osam Bin Laden. When a promising clue leads to a fortress-like compound in Pakistan, two field agents (apparently unlisted/uncredited in the cast listing) set up surveillance on the compound in hopes of figuring out for sure if bin Laden is in there. As the clues comes together, Seal Team 6, including young team leader, Stunner (Cam Gigandet), and veteran right-hand man, Cherry (Anson Mount), prepare to lead a raid to take out bin Laden should the clues and identity come together as planned.

Originally shown on National Geographic TV (I didn't know that channel existed) just a few days before the November 2012 election, 'Raid' is impossible to view without thinking of Bigelow's Zero Dark Thirty. It tells the same, exact story, right down to the division of the story among a handful of different stories. Where 'Zero' uses Chastain's Maya as a link to all the stories, 'Raid' has no real unifying hook other than the ultimate goal of hunting down bin Laden. It has a docu-drama feel to the too-short 91 minute movie, utilizing stock footage of the war in Afghanistan with election footage, some President Obama soundbites, quick editing of C.I.A. headquarters in Langley, and general B-roll.

Don't be confused though. While the title says this is a movie about Seal Team 6 and its raid for bin Laden, it's not exclusively that story. It certainly devotes more time to the team than 'Zero' did, but it's not just their story. The actual Team 6 story is pretty standard men-on-a-mission focus. Along with Gigandet's Stunner and Mount's Cherry, we're introduced to Mule (rapper Xzibit), Trench (Freddy Rodriguez), and Sauce (Kenneth Miller), and Lieutenant Commander (Robert Knepper). It's pretty typical stuff. The group bickers, fights, argues, makes fun of each other. The rivalry dynamic between Stunner and Cherry is hackneyed at best and feels like something you will have seen in countless other movies. The weird part? Beyond the rivalry thing, the men on a men angle, the specialists working together works surprisingly well. Kudos to first-time screenwriter Kendall Lampkin for getting that element correct.

Some scenes among the team stood out in a positive sense for me. An early mission in the desert is well-choreographed and full of tension with a surprising capper. The raid itself in the finale is nothing spectacular (especially having seen Zero Dark Thirty where that scene is perfection). Instead, it's the moments that are more personal that work. Mule and Trench talking about the mission near an airfield and how they ended up as Seals is well-written and well-acted. It's the definition of cliched, but a scene where the Seals video-message with their families right before the mission is authentic and emotional in in its simplicity. Anything new in that formula? Nope, but when the story has a finale that EVERYONE knows where it's going, there has to be something along the route to keep you interested.

Of the three storylines, the weakest is the C.I.A. angle. Robertson's Vivian -- quite the looker -- wears huge-rimmed glasses a 1960s librarian wouldn't have worn, apparently to dull down her looks (I guess?). She's joined by the always reliable William Fichtner as Mr. Guidry, a C.I.A. supervisor, and Eddie Kaye Thomas as a fellow agent with a different stance on the bin Laden hunt. These are the scenes that have the pseudo-documentary feel to them, and not for the better as they lack any real sense or urgency or energy. While I can't find their names listed in the cast, the third storyline of the two agents on the ground in Pakistan near the compound is more compelling -- by far -- than the C.I.A. angle.

I'll be giving this TV-movie the same rating as I did Zero Dark Thirty, but I'm not saying they're equally good or even on the same page. Many reviewers criticized the left-wing angle this movie takes, its lack of military accuracy on a ridiculously minute angle, or any number of other things. The moral of the story is what I go into every movie with. Did I like it? Even a little? Yes, I enjoyed this one throughout. Regardless of your thoughts, it would make an interesting companion piece to watch with Bigelow's Zero Darky Thirty.

Seal Team 6: The Raid on Osama bin Laden (2012): ***/****