Arnold Schwarzenegger

  • Last Action Hero (1993)

    Last Action Hero (1993)

    ByChristian Sauvé Movie Review

    (Second viewing, on Cable TV, March 2016) I remember seeing Last Action Hero in theatres in 1993, days after graduating from high school, and liking it quite a bit better than the reviewers did at the time. I approached it again with nostalgia-tinted intentions, ready to make a bold claim that its action movie self-referential satire would have been far more successful in today’s vastly more irony-friendly culture. But after actually watching the film, I reluctantly concede that the critics were right then and are still right now: Despite an engaging premise, some spectacular set pieces and a self-deprecating performance by Arnold Schwarzenegger, Last Action Hero ends up as a film too flawed to be considered successful. Reading up on the film’s troubled production history certainly helps clarify why the result seems so haphazard: the involvement of so many people in writing the script explains why it feels so disjointed and underwhelming. The rushed post-production certainly led to the slack moment-to-moment pacing. Worse: Last Action Hero takes a sky’s-the-limit concept and beats it down to a dull rooftop rainy climax, ignoring dozens of better ideas along the way. It fatally chooses to set its climax in the dingy real world rather than the sunny fantasies of the movies. It doesn’t just make jokes, but underlines each of them twice to make sure that we get it. The kid protagonist is more annoying than sympathetic, the all-evil portrait of New York feels dated (although that one isn’t the film’s fault—NYC’s murder rate is now an astonishing 15% of what it was back in 1990) and much of the plot mechanics should have been simplified to focus on the fun-and-games of the premise. I still like much of Last Action Hero: some moments work really well as comic throwbacks to a specific type of early-nineties action film, director John McTiernan manages to make some of the movie-world action sequences a lot of fun (most specifically the hotel rooftop sequence) and some of the individual jokes do land. But the key word here is “some”: As a whole, Last Action Hero doesn’t manage to achieve what it sets out to do. Why doesn’t anyone think of remaking this film rather than successful ones?

  • Sabotage (2014)

    Sabotage (2014)

    ByChristian Sauvé Movie Review

    (On Cable TV, January 2015)  It’s hard being an aging action star.  Stallone seems unwilling to acknowledge that it’s happening to him, but Arnold Schwarzenegger seems to be trying a few strategies to remain in the game long after his retirement years.  In Sabotage, he takes up guns and a leadership role as an alternative to fisticuffs and stunts, and he’s easily the best in an ensemble cast.  Alas, he may also be the best things in a dirty violent thriller that seems delighted in its own gory nastiness.  Sabotage is all about dirty special agents who have come to believe their own mystique and proceed, in the opening sequence, to try to rob Mexican gangsters out of a few million dollars.  It doesn’t go well: one of them is killed on-site, prompting an official investigation.  When no evidence of wrongdoing is found, the aging leader of the gang goes back to find a unit that has lost its morale.  Thing seem to perk up as they train together, but then they all start dying one after another is a series of bloody murders.  We’d probably care more about the mystery if the victims weren’t all hyper-aggressive killers –it takes a long time for a lawful character to be introduced, and even then all she can do is being duped and witness the carnage.  The ending is very weak, although we’d told that the studio interfered and that the alternate endings available on the DVD are both stronger than the one that ended up in the theatrical release.  Even then, Sabotage remains a far-too-violent routine thriller –much like for his previous Olympus Has Fallen, director Antoine Fuqua ought to lighten up a bit.  In the meantime, it’s a perfectly acceptable entry in Schwarzenegger’s post-governorship career.

  • Escape Plan (2013)

    Escape Plan (2013)

    ByChristian Sauvé Movie Review

    (On Cable TV, September 2014)  Once upon a time, in the early nineties, a film featuring both Arnold Schwarzenegger and Sylvester Stallone would have been An Event fit to explode all box-office records, fannish expectations and critical snark.  Now, more than twenty years later, Escape Plan is… just another action B-movie, anchored by familiar faces but not nearly as earth-shattering as it could have been.  It probably doesn’t help that the film revolves around Stallone (rarely a good actor, now increasingly ridiculous in his mumbling old age) and a rather hum-drum plot the likes of which we’ve seen a few times already.  The action sequences are limp (although two of the fight scenes offer the expected pleasure of seeing Stallone and Schwarzenegger trade a few body-blows), the villains are bland and the film doesn’t build up to much more than the obvious conclusion.  Sure, there’s a few twists and turns and flashy “here’s how I did it” explanations… but the film simply has the feel of a low-budget action movie that just happens to feature two of the biggest box-office stars of two decades ago.  Escape Plan has the merit of not being actively bad or unpleasant, just not as distinctive as it should have been considering the past caliber of its stars.

  • The Last Stand (2013)

    The Last Stand (2013)

    ByChristian Sauvé Movie Review

    (On Cable TV, December 2013) Fast cars and big guns are near-essential ingredients of B-grade action films, and if nothing else, The Last Stand doesn’t try to camouflage its high-concept plot devices.  There’s a crazed Mexican druglord high-tailing it to Mexico with a fast car, and there are plucky heroes who literally stand in his way.  The entire film leads to its final confrontation, and it’s the kind of structure that’s ideally suited to a low-budget action film.  The Last Stand is most notable for being Arnold Schwarzenegger’s first starring role in a decade (you may recall him as acting as California’s governor during that time), and it’s an adequate return to form for him: his role is generally (despite the usual action-hero heroics) age-appropriate, and while he stars, he doesn’t hog all of the spotlight.  Much of the film is forgettable, though: the night-time action scenes blur together, while the engaging cornfield climax leads to an overlong bridge fistfight.  While The Last Stand remains well-directed enough (by acclaimed South Korean director Kim Jee-Woon in his American debut) to hover comfortably above most direct-to-video titles, it’s not special enough to warrant more than an evening’s easy entertainment.  It would have been nice to see something a bit more ambitious.

  • The Expendables 2 (2012)

    The Expendables 2 (2012)

    ByChristian Sauvé Movie Review

    (On Cable TV, April 2013) I was left unimpressed by The Expendables’ mixture of self-satisfied machismo, gory violence and incoherent direction, so to say that this sequel is better than the first one only requires slight improvements.  By far the best creative decision taken this time around is to give directing duties away from Sylvester Stallone and to veteran filmmaker Simon West –an inconsistent director, but one who at least knows what he’s doing.  The macho bravado and CGI gore is still there, but at least the film doesn’t struggle to make itself understood once the relatively coherent action sequences are put together.  The tone is much improved: Rather than trying to be a humorless pastiche of 80s action films, The Expendables 2 regularly acknowledges its own absurdity, whether in the form of stunned one-liners, or avowed deus-ex-cameo plot developments that allow icons such as Chuck Norris, Arnold Schwarzenegger and Bruce Willis to come in a save the day even at the expense of basic suspension of disbelief.  As with the first film, it’s the casting that provides much of the entertainment: Sylvester Stallone is still obnoxious in a self-indulgent lead role, but Jason Statham is reliably good, Jean-Claude van Damme relishes his role as an eponymous Vilain, Dolph Lundgren gets a bit more of that “mad chemist” character, while relative newcomer Nan Yu makes a bit of impression as a welcome female presence in the middle of so much testosterone.  As far as action is concerned, the beginning of The Expendables 2 is generally getter than its second half for reasons linked to the film’s intention: R-rated Eighties action film were heavy on violence (ie; personalized deaths, usually at gunpoint) while subsequent Nineties PG-13 action films relied more on, well, bloodless action: chases and explosions.  This sequel has more action at the beginning, and far more violence at the end, especially when is starts shooting up an airport terminal where no innocent travellers are to be found.  Dialogue and plot don’t deserve much of a mention, except to note their role in setting up the action sequences or the terrible self-referential humor.  While the film is definitively an improvement over the original, the final result isn’t much more than a routine shoot-‘em up: there is little in The Expendables 2 to spark the imagination or even to discuss once the credits roll.  It goes without saying that the entire thing is still an exercise is self-absorbed nostalgia.  There is no need for a sequel, even though one is nearly certain given the nature of the franchise.

  • The Expendables (2010)

    The Expendables (2010)

    ByChristian Sauvé Movie Review

    (On DVD, August 2010) It’s said that films should be judged on the basis of their ambitions, and the least one can say about writer/director/star Sylvester Stallone’s The Expendables is that it really wants to be a gift to 1980s action movie fans.  The ensemble cast is among the most extraordinary ever assembled for an action film, in between Stallone, Jason Statham, Mickey Rourke, Dolph Lundgren, Jet Li and others, with great cameos by Bruce Willis and Arnold Schwarzenegger.  Unfortunately, the cast (Statham in particular) is about the only thing going for this film, which is so successful in recreating the eighties that it has forgotten that most action films of the era were deathly dull.  Reviving Regan-administration Latin-American politics, the film is mired in a dull banana-republic setting where only Americans can kill the right people to restore peace and deniable capitalistic hegemony.  But even worse is Stallone’s action direction, which cuts away every half-second in an effort to hide that the actions scenes don’t have a lot of interest.  The explosions are huge, but the rest is just confused: in-between the excessive self-satisfied machismo of the film, it’s not hard to grow resentful at the stunning waste of opportunities that is The Expendables.  A perfect example is a dock strafing sequence that could have been great had it actually meant something: instead, it just feels like the gratuitous hissy fit of a pair of psychopaths.  But the nadir of the film has to be found in its script, especially whenever it tackles perfunctory romance: Sixty-something Stallone may helm the film, but it’s no excuse to slobber over a girlfriend half his age.  Another dramatic monologue delivered by Rourke stops the film dead in its tracks and sticks out as the endless scene that doesn’t belong.  Too bad that the script doesn’t know what to do with what it has: despite the obvious nods and little gifts to macho cinema, The Expendables quickly indulges in the limits of the form.  Guys; don’t argue with your girlfriend if she wants both of you to see something else.

  • True Lies (1994)

    True Lies (1994)

    ByChristian Sauvé Movie Review

    (Second Viewing, On DVD, July 2010) I hadn’t seen True Lies since it was first released in theatres, and while it has visibly aged since then, it hasn’t lost much of its appeal.  Beginning like a competent James Bond clone featuring Arnold Schwarzenegger, the film soon takes a then-unusual turn in portraying a secret agent dealing with matrimonial issues.  While this trope isn’t so fresh now after such films as Mr and Mrs Smith (and was adapted from French film La Totale in the first place), it’s still rich in possibilities that True Lies exploits relatively well.  Unfortunately, what seems more obvious now are the pacing issues: There’s a mid-film lull that more or less coincides with increasingly unpleasant harassment of the lead female character by her husband, and even the reversal/payoff later in the film doesn’t completely excuse the bad feeling left by the sequence.  On the other hand, the action scenes are almost as good as they could be despite some dated CGI work: True Lies may be among director James Cameron’s lesser work, but it shows his understanding of how an action scene can be put together and features mini-payoffs even in the smallest details.  The last half-hour is just one thrill ride after another, culminating in a savvy Miami high-altitude ballet.  In terms of acting, it’s fun to see Eliza Dushku in a small but pivotal pre-Buffy role as the hero’s daughter or Tia Carrere as an evil terro-kitten –although it’s no less strange to see Jamie Lee Curtis get a few minutes of screen time as a sex symbol and I can’t help to think that Schwarzenegger, however great he is playing up to his own archetype, is singularly miscast as a character who should look far meeker.  Uncomfortable mid-film harassment sequences aside, True Lies nonetheless holds up fairly well more than a decade and a half later, thanks to a clever blend of action, humor and married romance.  What really doesn’t hold up, though, is the bare-bones 1999 DVD edition, which is marred by a poor grainy transfer and a quasi-complete lack of supplements.  We know about James Cameron’s reputation for excess during the making of his movies: There’s got to be an awesome documentary somewhere in this film’s production archives.

  • The Terminator (1984)

    The Terminator (1984)

    ByChristian Sauvé Movie Review

    (Second viewing, On DVD, June 2003) Once you see beyond a few dated special-effects shots, this movie holds up amazingly well almost two decades later. This first instalment in the series looks good for its low budget and presents, almost in a nutshell, all the ideas that would later pop up in the sequel. Arnold Schwarzenegger looks too young (and has too much hair), but ably demonstrates his star qualities in a role that seems almost custom-built for his (limited) talents. Linda Hamilton is adorable as the fluffy Sarah Connor and the eighties setting now seems almost emblematic rather than dated. The Special Edition DVD presents plenty of extras, including fascinating deleted scenes (further showing the way to the second film) and a revealing look behind the scenes of Cameron’s “true” first film. We may be tempted to see this film merely as the first volume of a series but it’s actually quite good as a standalone film of the era.