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thedullwoodexperiment

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thedullwoodexperiment

Tag Archives: New Mexico

War on Everyone (2016)

18 Tuesday Oct 2016

Posted by dullwood68 in Movies

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Tags

Action, Alexander Skarsgård, Comedy, Corrupt cops, Crime, Drama, John Michael McDonagh, Michael Peña, New Mexico, Review, Tessa Thompson, Theo James, Thriller

war-on-everyone

D: John Michael McDonagh / 98m

Cast: Michael Peña, Alexander Skarsgård, Theo James, Tessa Thompson, Malcolm Barrett, Caleb Landry Jones, Stephanie Sigman, David Wilmot, Paul Reiser

Do you like your cops as corrupt as the criminals they arrest/steal from? Do you like to see cops misuse their position and betray your trust in them at every turn? And do you like them to have so little regard for your (or anyone else’s) dignity or safety that they’d hit a mime with their car just to see if he yells in pain? Well, if you only answered yes to that last question, then War on Everyone is the movie for you. It’s a buddy cop movie where the cops in question, Detectives Bob Bolaño (Peña) and Terry Monroe (Skarsgård), will do everything they possibly can to screw over everyone they meet, be it their long-suffering boss, Lt. Stanton (Reiser), or one of their stoolpigeons, Reggie (Barrett), or just about anyone operating on the wrong side of the law (like them).

When news reaches them that a big heist is being planned, naturally Bob and Terry want to know all about it so they can grab the money once the robbers have done all the hard work. But the man planning the heist is a shadowy figure they’ve not encountered before, and the details are equally shadowy; all they have are the men who’ll be involved but not the location or where the money is to be taken. With Reggie managing to get himself the getaway driver’s job, Bob and Terry think they’ve got it all worked out: follow Reggie, grab the cash at the earliest opportunity, and head off to somewhere foreign with no extradition arrangement with the US. But of course, nothing goes to plan, and Bob and Terry find themselves up against a British aristocrat called “Lord” James Mangan (James), the mastermind behind the heist, and someone who doesn’t take kindly to their efforts to hijack the robbery and take most of the money.

woe-scene1

After the relatively sombre and restrained The Guard (2011) and Calvary (2014), writer/director John Michael McDonagh has decided to cut loose – and quite a bit – with this tale of two ultra-corrupt cops that’s set in New Mexico, is bolstered by the inclusion of Glen Campbell on the soundtrack, and which has a very gritty Seventies vibe to it. War on Everyone is also extremely funny in places, as you’d expect from McDonagh, and there are a plethora of laugh-out-loud moments to keep the audience happy and the script from seeming too formulaic. McDonagh is great at creating a world for his dysfunctional characters to inhabit, and the bright, airy spaces of New Mexico are used to good effect to create a surprisingly natural background for the absurdities that unfold in the foreground.

The plot, such as it is, is acceptable without pushing any boundaries or bringing anything new to the table, and McDonagh is keen to highlight the fact that he knows this, and that the audience should just go along with it. It’s Bob and Terry who are the movie’s real focus, even though their relationship – built as ever on mutual trust and respect while everyone else (bar Bob’s family) is fair game – is one we’re meant to enjoy for its verbal jousting and the pair’s unspoken dependence on each other. Only when it seems that Bob has run out of luck do we see how much Terry depends on him as both a partner and a friend. But in keeping with the characters’ macho exteriors, it’s a necessarily brief glance – and then back to the action.

woe-scene2

With McDonagh having established the bond that unites these two latter-day Robin Hoods (only difference: they don’t give to the poor), he adds subplots and secondary characters to flesh out the drama, but in the process and with the exception of Landry Jones’ twitchy portrayal of Mangan’s right hand man, Birdwell, never quite manages to make them as memorable as they need to be. Despite sending Mangan (literally) on an acid trip that’s designed more to show off some fancy camera moves and elaborate staging than to look into the mind of the character, the villain is essentially colourless and in the end, easily dealt with. Likewise, Terry’s love interest, Jackie (Thompson), who he places under his own personal protection and who he promptly falls in love with. Jackie’s a sweet enough character, and as a counterpoint to all the cynicism on display elsewhere she fits the bill, but McDonagh doesn’t develop her in any way, and she remains a frustrating caricature: the girl who needs to be rescued.

As the two felons with badges, Peña and Skarsgård make a great team. Peña is the erudite, well-read partner who can quote from the Greek classics, and who realises that they can’t keep doing what they’re doing indefinitely (it doesn’t help that he looks a little like a Latino version of the British movie critic Mark Kermode). Skarsgård brings the muscle, folding in on himself a lot of the time and accentuating his forehead, as if he’s about to use it as a battering ram. He’s the more dangerous of the two, unpredictable, and Skarsgård projects just the right amount of bottled-up menace that the role requires. Together the two stars are a joy to watch, and McDonagh ensures that their camaraderie is entirely believable, even when he takes them out of their New Mexico comfort zone and sends them off to Iceland to track down an absconded Reggie.

woe-scene3

Making his first feature away from Ireland, McDonagh shows a confidence in his decision that isn’t supported by the way he handles the material, and on this occasion McDonagh the director doesn’t know quite what to do to combat the problems inherent in McDonagh the writer’s screenplay. But the movie is an enjoyable one for the most part, provided the viewer keeps their expectations to a minimum; then they might be pleasantly surprised by Bob and Terry’s antics, and also more invested in how things turn out. One area where the movie can’t be faulted is in its cinematography, courtesy of the very talented Bobby Bukowski, whose previous movies include Rosewater (2014) and The Iceman (2012). Thanks to his efforts, War on Everyone is often beautiful to look at, and he keeps the camera moving in ways that are often very inventive – and often without the viewer realising it.

Rating: 7/10 – at times a raucous, freewheeling movie with plenty of buzz about it, War on Everyone can’t sustain it’s initial set up for very long, and McDonagh’s script loses its freshness around the halfway mark; good performances from Peña and Skarsgård help things immeasurably, but this has to go down as a missed opportunity from McDonagh, but not so bad that his next movie won’t be as highly anticipated as this one was.

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Blood Father (2016)

28 Sunday Aug 2016

Posted by dullwood68 in Movies

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Tags

Action, Crime, Diego Luna, Drama, Erin Moriarty, Ex-con, Jean-François Richet, Literary adaptation, Mel Gibson, Michael Parks, New Mexico, Peter Craig, Thriller, William H. Macy

Blood Father

D: Jean-François Richet / 88m

Cast: Mel Gibson, Erin Moriarty, Diego Luna, Michael Parks, William H. Macy, Miguel Sandoval, Dale Dickey, Thomas Mann, Richard Cabral, Daniel Moncada, Ryan Dorsey, Raoul Trujillo

The recent career of Mel Gibson has seen him appear in one movie per year since 2010 (with the exception of 2015). While personal troubles have dogged him over the last ten years, and caused him no end of embarrassment – and given Ricky Gervais the opportunity to make one of the best jokes about an actor, ever – Gibson has tended to stick to the action genre that has stood him in such good stead in the past. Aside from his role in The Beaver (2011), Gibson’s choice of roles has seen him engage fitfully with the material on offer, and he’s been the villain in two action sequels that should have been much, much better: Machete Kills (2013) and The Expendables 3 (2014).

But now, with Blood Father, Gibson finally has a role he can really sink his teeth into, and the result is a performance that serves as a (much-needed) reminder of just how good an actor he really is. An adaptation of the novel by Peter Craig, and co-written by Craig and Andrea Berloff, the blood father of the title is an ex-con by the name of John Link. He’s been out of the joint for a year, and sober for two. He lives in a trailer outside a small town in New Mexico, and is a tattooist by trade. He’s also divorced, and has a seventeen year old daughter, Lydia (Moriarty). But Lydia has been missing for the last three years, ever since she ran away from the home she shared with her mother and her mother’s third husband. John has hopes of finding her one day, but without any clues as to her whereabouts, it’s unlikely he will.

Blood Father - scene3

It’s Lydia who finds him. Having gotten involved with a junior member of a Mexican cartel, Jonah Pincerna (Luna), Lydia finds herself in very deep trouble when Jonah raids the home of someone who’s been stealing from him. As a test of her loyalty he asks her to kill the woman there; Lydia ends up shooting Jonah instead. On the run, and with no one else she can call, Lydia contacts John and he arranges to meet her. He takes Lydia back to his trailer, but it’s not long before Jonah’s crew turn up looking for her. The ensuing gunfight prompts John to leave and take Lydia with him, and to find out more about Jonah and his connections. After a lucky escape from the police, John discovers that the cartel have sent a hitman (Trujillo) to kill Lydia.

A reunion with an old army buddy, Preacher (Parks), goes awry when he attempts to claim the missing persons reward money put up when Lydia ran away. She and John manage to get away, and at a motel they change their appearances, John shedding his beard and Lydia dyeing her hair blonde. While John travels to a nearby penitentiary to visit an old friend, Arturo Rios (Sandoval), who has concrete information about Jonah, Lydia is persuaded to take herself to a public place by John’s sponsor, Kirby (Macy), and trust no one. But it’s a set up, and Lydia is abducted. Her abductors contact John, and a rendezvous in the desert is arranged, but it’s a rendezvous that is likely to end in both of them being dead…

Blood Father - scene2

Fans of Mel Gibson the actor will be glad to see that his performance in Blood Father is very definitely a return to form. Ostracised and pilloried for the racist remarks he’s made in the past, Gibson seemed to be getting by on the goodwill of others – Jodie Foster, Robert Rodriguez, Sylvester Stallone etc. – and while he’s still a highly watchable actor in his own right, there was always a feeling over the last few years that Gibson wasn’t trying too hard, that the work he was taking on couldn’t have been challenging for him, and so he wouldn’t rise to the challenge. Here, though, Gibson has found a role that is not only challenging, but inspiring, rewarding, and above all, one of the best fits for his skills as an actor.

Inevitably, there’s more than a smidgeon of Martin Riggs lurking inside the character’s DNA. Witness John’s response to the arrival of Jonah’s henchmen and the gunfight that follows: he’s dismissive of them, and once they open fire and he has to deal with them he gives angry voice to the variety of ways that their appearance will lead to his breaking parole. He’s pissed off, he’s mostly unconcerned by their firepower, and he can’t wait around for the police – the sensible thing to do – because he’s convinced they won’t believe a word he says. Playing John with a fatalism that speaks volumes for the character’s mindset, Gibson gives one of the best performances of his entire career, and proves as mesmeric an actor as he was back in the late Eighties, early Nineties. As he scowls and growls his way through the movie, Gibson also imbues John with a subtle vulnerability that adds depth to the character and makes his need to reconnect with Lydia entirely credible.

Blood Father - scene1

Thanks to the combination of Gibson’s performance, Craig and Berloff’s astringent screenplay, and Richet’s sharp, purposeful direction, Blood Father is more than just a standard action drama punctuated by brief, kinetic bursts of violence. It has an off-centre sense of humour, is sure-footed enough to keep John and Lydia’s relationship free from sentiment, makes very good use indeed of its stunning New Mexico locations (beautifully lensed by DoP Robert Gantz), and above all, maintains a level of tension that many other so-called thrillers fail to achieve for even a fraction of the movie’s running time. As a return to form, Gibson couldn’t have picked a better vehicle or character, and the movie is proof positive that he’s still as mercurial an actor as ever, and that when the right role comes along, he’s nigh-on untouchable.

Rating: 8/10 – with deft supporting turns from the likes of Sandoval and Macy allied to Moriarty’s low-key, sympathetic portrayal of Lydia, Blood Father is more than just a vigorous action thriller; despite its awkward title, the movie explores themes of loss and regret, hope and sacrifice, that elevate the narrative beyond its basic, conventional set-up and make it one of the more astute “relationship dramas” out there.

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Burning Bodhi (2015)

16 Monday May 2016

Posted by dullwood68 in Movies

≈ 1 Comment

Tags

Cody Horn, Drama, Friendships, Funeral, Indie, Kaley Cuoco, Landon Liboiron, Love, Matthew McDuffie, New Mexico, Relationships, Review, Virginia Madsen

Burning Bodhi

D: Matthew McDuffie / 95m

Cast: Cody Horn, Landon Liboiron, Kaley Cuoco, Meghann Fahy, Eli Vargas, Sasha Pieterse, Andy Buckley, Virginia Madsen, Wyatt Denny

One of the most popular stories both in literature and cinema – and the wider arts in general – is the one about the prodigal son (or daughter) returning home after a long time away. There will be family issues to face, people to tiptoe gingerly around, and reconciliations to be made, maybe even a few apologies. And it will be an emotional return for all concerned. For all the myriad reasons why someone should return home to face that kind of situation, the most overly used reason is because someone has died. In that circumstance, the pull is undeniable, and the lead character finds themselves drawn back to a place that they’ve done their best to escape from (and plan never to go back to). In its own way, this return is another rite of passage, even if the character is, say, forty or over, because it’s about acknowledging the past and coming to terms with it.

The main character in writer/director Matthew McDuffie’s bittersweet indie drama is Dylan (Liboiron). Dylan is in a relationship with Lauren (Fahy) but it’s not going so well. They’ve had a huge argument right around the time that Dylan learns of the death of his best friend in high school, Bodhi. He’s contacted by a mutual friend, Ember (Horn), who tells him she’s organising Bodhi’s fun-eral (not funeral). Feeling the need to get away for a while, Dylan travels from Chicago to New Mexico, and back to the town he grew up in. He reconnects with his dad, Buck (Buckley), but remains at a distance from his mother, Naomi (Madsen), who left them for another man. Also invited to the fun-eral is Katy (Cuoco), Dylan’s old girlfriend. Their relationship ended badly, but as the fun-eral approaches, he finds old ties hard to resist, and Dylan begins to experience some of the feelings he had for Katy before he left.

BB - scene2

While Dylan, Ember and Katy spend time together arranging Bodhi’s send-off, Lauren follows Dylan down to New Mexico, while another friend of Bodhi’s, Miguel (Vargas) travels down by mini-van. On the way he picks up a stranded young woman called Aria (Pieterse); Aria is six months pregnant and heading to California to start a new life, but she agrees to accompany Miguel to the fun-eral. In the days leading up to the ceremony, secrets are revealed, and old relationships are thrown into sharp relief as Dylan faces up to his fears around commitment, Katy battles the drug addiction that is in constant danger of leading to her child being taken away from her, and Ember tries her best to keep her own hidden feelings from being revealed, and making things even more contentious.

There’s more than a whiff of Lawrence Kasdan’s The Big Chill (1983) about Burning Bodhi, but what’s interesting about this particular movie is the way that it makes communication between the characters both easier and more difficult because of their reliance on modern technology. When Dylan discovers that Bodhi has died, he does so via Facebook, and when he mentions Bodhi’s death to the people around him, it turns out they already know. If death is the great leveller then social media is death’s public relations officer, ready to disseminate news of its activities at the merest push of a button. It’s fast, it’s efficient, and it saves on all the phone calls.

BB - scene3

As a step down from one-to-one conversations, the characters rarely use their phones to talk to each other either. Instead they send each other texts, and while this may seem like mass avoidance on everyone’s part, McDuffie is clever enough to make these exchanges the heart and soul of his movie. He shows how much more easy it is for Dylan and his peers to communicate with each other this way, and how easy it is for them to express their feelings, and more clearly. In one scene, Dylan and Katy exchange texts that explore the idea of their getting back together. Dylan is all for it, believing they can make things work, but Katy is unconvinced. As Dylan tries to persuade her to try again, and Katy resists the temptation, their feelings for each other, dormant but still there, are stated with such deep-rooted poignancy that the viewer can’t help but hope they get back together, even though Katy is right.

McDuffie doesn’t make his movie a talk-free zone however, and there’s plenty of verbal interaction to keep more traditional communicators happy, but he achieves more with his characters in terms of a look or a physical stance than he does with the somewhat over-written dialogue of the last fifteen minutes. Here the likes of Katy and Ember offer semi-profound insights into the nature of life and relationships, and with a side order of mortality thrown in for good measure. It makes them all seem wiser than their years, or that they all studied philosophy in high school (which doesn’t seem likely).

The cast embrace the various storylines with gusto, giving considered yet effective performances. Even Liboiron, called upon to be antagonistic and self-absorbed (aka a dick) for most of the movie, acquits himself well, and he manages to imbue Dylan with a lost puppy aura that offsets some of the more hurtful (and harmful) things he does. Horn is the type of upbeat, freewheeling young woman who should be really annoying, but the actress makes her the most sympathetic character in the whole movie, and she does so effortlessly (even when she’s trying to hook up a mutually unimpressed Dylan and Katy while Katy is doing community service). As the drug-damaged Katy, it’s Cuoco who nearly steals the movie, giving the kind of performance that reinforces the idea that there’s more to her than playing Penny on The Big Bang Theory. With her pasty face made pantomimic by the application of too much make-up, Cuoco allows the audience to view her with pity but not with any feelings of condemnation.

BB - scene5

On the whole, McDuffie and the cast make good work of a narrative that, for all its careful construction, still appears lightweight in places, and this upholds the idea that the script is unlikely to provide anything to shock or cause concern in its audience. Viewers will be able to predict the movie’s outcome well in advance, not because McDuffie is a terrible screenwriter, but because, good as it all is, he doesn’t really take any chances with the material. This leads to a few scenes lacking in dramatic focus, and when a revelation is made about someone’s feelings or emotions, those feelings and emotions are usually left without being explored any further. This does mean a lack of emotional histrionics (which is a good thing), but it also means that a character’s reactions/demeanour aren’t as fully realised as they could be (which isn’t a good thing).

Ultimately, some lessons are learned while others are left by the wayside, and the fates of all the characters are left for the viewer to decide on, even if the script appears to be shepherding them in certain directions. The New Mexico locations are often beautifully lensed by DoP David J. Myrick, and there’s an unintrusive yet inquisitive score by Ian Hultquist that embeds itself in certain scenes and elevates the emotional content of those scenes with an ease that shouldn’t be ignored.

Rating: 7/10 – with its themes of forgiveness, regret and abandonment, Burning Bodhi may seem like it’s a movie with a message (though if it was, that message would arrive in a text), but instead it does its best to concentrate on the characters and how they can keep hurting each other while still loving each other; a few narrative stumbles here and there stop the movie from being awards-worthy impressive, but as a feature debut for Matthew McDuffie, it’s a good indicator that his next movie should be one to watch out for.

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The Condemned 2 (2015)

20 Saturday Feb 2016

Posted by dullwood68 in Movies

≈ 1 Comment

Tags

Action, Drama, Drones, Eric Roberts, Explosions, Gambling, New Mexico, Randy Orton, Review, Roel Reiné, Sequel, Steven Michael Quezada, Thriller

The Condemned 2

D: Roel Reiné / 90m

Cast: Randy Orton, Eric Roberts, Wes Studi, Steven Michael Quezada, Bill Stinchcomb, Alex Knight, Dylan Kenin, Michael Sheets, Morse Bicknell

The world of The Most Dangerous Game gets another hackneyed, played out already diversion in the form of The Condemned 2, yet another WWE Films exercise in low budget stupidity. You can imagine the meeting where such a movie is discussed and agreed: men in sharp suits sitting around asking themselves which WWE superstar they should employ in their latest cheaply produced action thriller, and which already expired concept should they put him in. And though Randy Orton has already paid his dues in 12 Rounds: Reloaded (2013), someone clearly felt that one embarrassing WWE movie on his CV wasn’t enough.

But what further movie to shoehorn him into? And then someone had the idea, the creative challenge that would make all the difference, and that would show a solid commitment to enhancing Orton’s onscreen career: a sequel to a movie made eight years before, and which had an actual budget and a degree of in-built credibility with its casting of “Stone Cold” Steve Austin and Vinnie Jones. Yes, someone said, let’s make a sequel to The Condemned (2007).

But then someone else must have interrupted all the cheering and the backslapping and the hearty congratulations for solving such a weighty issue. And that person must have said, “hang on, before we get carried away, we haven’t got the same kind of money to make a sequel that we did the original”. And everyone would have nodded their heads in agreement, acknowledging that the studio’s run of action movies over the last five years had underperformed spectacularly, and that as a result, budgets had been trimmed to within an inch of a WWE Diva’s waistline. So what to do? Come up with another idea?

TC2 - scene3

The answer was clearly no. The answer was to scale back the production values of the original – obviously – and scale down the size of the original’s plot. Instead of a nationally televised manhunt taking place on a remote island, and Jones’s twisted psycho hellbent on killing Austin’s noble hero, how about a twisted psycho putting pressure on the team of an ex-bail bondsman to take part in hunting him through the dusty arroyos of New Mexico? Cue more nods of agreement, a phone call to Orton’s agent, the drafting of a production schedule, and hey presto! one more movie out of the starting (Lions)gate.

As quickly and as cheaply made as The Condemned 2 is though, it’s still a masterpiece in comparison to some of WWE Films’ other releases – Knucklehead (2010), and Leprechaun: Origins (2014), yes, we’re talking about you guys. But it does push the boundaries of credibility from the very start, as Orton and his team of heavily armed bail bondsmen infiltrate the hideout of a very bad man indeed (played by Studi), who’s worth a million if they bring him in alive. After much gunplay and a standoff between Orton and Studi, Orton kills the very bad man and is subsequently convicted of involuntary manslaughter (but he’s given a two year suspended sentence, so that’s okay). But Orton quits the bail business and decides he’s having nothing more to do with guns or criminals or running around in the middle of the night chasing bounties.

Of course, that’s what he thinks. In the meantime, Studi’s second in command, a shifty-looking sleazebag called Raul (Quezada) has set up a bizarre gambling casino in an abandoned industrial plant, where high rollers can bet on the outcome of the latest game in town: hunting the ex-bail bondsman. Having coerced/threatened/blackmailed his team to try and kill Orton, Raul encourages his bloodthirsty clientele to bet heavily on each encounter. But Orton proves unsurprisingly difficult to kill (note to WWE execs: how about that for a movie title?). As he struggles to get to the bottom of why his friends suddenly have murderous intentions toward him, Orton looks perplexed and confused, and often seems to have forgotten he has lines of dialogue. In comparison, while Orton underacts, Quezada takes up the shortfall and overacts like a ramped-up kid with ADHD.

TC2 - scene2

Soon though, Orton finds out what’s going on thanks to one of his team showing some balls, and aided by his father (played by Roberts) and another of his team that he convinces to help him, Orton heads for Raul’s casino-cum-hideout, and against a backdrop of several dozen explosions, comes face-to-face with his nemesis. Yes, it’s not exactly Shakespeare, and nor should it be, but aside from its use of a drone as a way of Raul keeping track of what’s happening with Orton, there’s very very very little that either makes sense or shows any sign of an inventive approach to the material or the narrative. The script is credited to Alan B. McElroy, and if that name rings any kind of a bell, then it’ll be because he wrote Wrong Turn (2003), The Marine (2006), and way back, Halloween 4: The Return of Michael Myers (1988). (You should now have a pretty good idea just how bad the script is.)

Thankfully though, McElroy’s script has been put in the hands of low-budget action movie specialist Roel Reiné, whose recent career has seen him wrestle equally unwieldy storylines and plots to life, and often for WWE Films. One thing Reiné is good at is injecting energy into often tired screenplays. He’s also adept at boosting them by virtue of a visual style that allows for unexpected camera angles during fight scenes, and particularly here, some stunning overhead (drone-PoV) shots that look amazing, and show off the New Mexico landscape to impressive effect. They’re not enough to outweigh the dreary predictability of the script, or the muted performances of the cast (Quezada’s aside – he really needed a moustache to play with to complete the portrayal), but they do add rare moments of sunshine in an otherwise gloomy offering.

TC2 - scene1

There are more WWE movies waiting in the pipeline to be released on an unsuspecting audience, and while there’s no sign that any of them will be better than The Condemned 2, one thing can be taken for granted: they’ll follow WWE Films existing template for making these kinds of movies: take one WWE superstar, add a few fight scenes and a handful of explosions, throw in a psychotic bad guy, and combine all these elements into a less than compelling whole, and on the stingiest budget possible. Next up? Dolph Ziggler and Kane in Countdown (2016). Now how can anyone pass that up?

Rating: 4/10 – there are worse WWE-backed movies out there, but this still takes some explaining in terms of its stitched-together script and performances that make no effort to connect with each other; not even strictly a sequel to the original, The Condemned 2 ambles awkwardly to its pyrotechnic-heavy conclusion, and provides further evidence that rather than enhancing its superstars’ careers, these kind of outings seem more of a punishment than a reward for their work in the ring.

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Rubbish Talk

I read, I write, and I sketch. For fun.

Film 4 Fan

A Movie Blog

Fast Film Reviews

for those who like their movie reviews short and sweet

The Film Blog

The official blog of everything in film

All Things Movies UK

Movie Reviews and Original Articles

Police Entertainment Network

From Patrol Cars to Movie Theaters, Real cops share real opinions

movieblort

No-nonsense, unqualified, uneducated & spoiler free movie reviews.

Interpreting the Stars

Dave Examines Movies

Let's Go To The Movies

Film and Theatre Lover!

Movie Reviews 101

Daily Movie Reviews & ABC Film Challenge

That Moment In

Movie Moments & More

Dan the Man's Movie Reviews

All my aimless thoughts, ideas, and ramblings, all packed into one site!

Sunset Boulevard

Writings of a Cinephile

Jordan and Eddie (The Movie Guys)

Australian movie blog - like Margaret and David, just a little younger

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