Now this is B movie. Nobody's under age and everyone seems to know exactly what they mean if not exactly what they're saying. Sylwester Stalone, for example, commands the courage few of his countrymen care to posses by selling the tried and true genre of the American mercenary. Otherwise known as the soldier of fortune, the Round Trip Mercenary is rich in the intelligence of others by definition. American melodrama may have plateauxed there for a while in the teenagers but tough as nails movie stars do continue to reason to exist and that reason confers hokey ho-hos in deadly situations.
Confused on the appropriate use of violence? Unsure of the caliber of sentimentalism, sarcasm, fair play, machismo, or I told you so? Never heard of the coke commando? Don't know which Swedish country the Emperor of Europe hails from? Never had Lite Beer? Sick of pushee-shouvee, touchee-feelee basketball hipsters? Don't think redundancy is ever funny? Seeing this movie should clear your head - especially if you believe that the gentleman hero tends more towards bleeding than humor.
The New School of America has yet to LaGuardia on the scene but suffice it to say, every proud homesteader knows that he is expendable if not quite ever replaceable; therefore, spiritualism is American and 'The Expendables' represents an American offering of explosions and sentimental oneupmanship. Bad men talk nice searching out competition to face in sporty combat. The turn-based action of the movie affords the film possible cult status. To begin with, Jet Lee finally proves he's twice the actor than Tom Cruise by drawing away the veil of pretense and asking for more money in English (as himself). Secondly, a gorgeous strafing 'rye and die' scene eclipses the acoustic merit of 'FUBAR' by dint of difficulty thereby far outstripping the point value of adolescence. Thirdly, Jason Stratham Charlie Bronsons his hat into the Steve McQueen and earnes Kevin Costner status by presenting a valid example of fighting style Leopard. If 3d musicals ever sack up to become dancicles, no Gene Kelly will ever have to rise to replace the urgency of a basketball hooligan beatdown thanks to the immanently civilized Jason Stratham. Thirdly, Terry Crews straight up asks critics of the American action absurd to remember the hard on Christmas: presumably when he might not be holding an automatic missile guided shotgun. Considering that Iron Man got Robert Downey Junior instant Moor status in Operation Thunder, I'd eagerly await a Mel Gibson book of Crews before presupposing that the paucity of Christian holy days would fail a hulking movie star. Fourthly, while mega-talented Dolf Lundgren continues to be sold down river at least he was cast. Fifthly, this is a movie for the single father who knows he shall always be more or less alone. And next to lastly, it features the fourth great oxymoron after romantic - comedy, military - intelligence, C O 2: declined - conservancy.
Perhaps 'The Expendables' are cheesy - perhaps they are too faithful to the TV TeleMundo world they seek to liberate and share too much a sense of suffering but the film features a real monologue from the actor Mickey Rourke. Whatever the philosophical underpinnings of the subjunctive mood rife in 'The Expendables,' Hollywood once again successfully dismembers itself to defend it's thesis that more is more and less is less in an often outrageously obvious idiom that recalls the long forgotten talkie and the immortality of comedy.
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