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In my review of Taken, I spoke about two growing trends in mainstream filmmaking: Into this market driven by nostalgia and the need for pension plans comes Red 2, a sequel to one of the more slow-burning hits of Reuniting the original cast with a couple of new faces, it aims to bring a more overtly comic-book feel to a sub-genre built around nuts-and-bolts action thriller plots.
The result is a little disappointing, not to say a little dull, but it's not without a few good moments.
As much as I objected to Taken, on grounds both structural and moral, I fully acknowledge the appeal of seeing older action stars - nay, just older actors - on screen in prominent, active and entertaining roles.
Because so much of mainstream cinema is shaped around the demands of teenage boys, the range of roles available to actors becomes more restricted as they age.
Unless you want to carve out a career playing Basil Exposition or people's grandparents, you're pretty much dead in the water by the age of Both of these films are driven by older characters, who conform to some generic conventions but still feel like real people.
While neither of these films are the most disciplined or structurally sound, they tell interesting stories which charm us and lead us to forgive or overlook their shortcomings.
While Cole's output wins outright in a fight over well-written female characters, Red 2 does have as much going for it behind the camera.
Dean Parisot's output has been uneven, but he did helm the highly entertaining Galaxy Quest, once described by J.
Abrams as "one of the best Star Trek movies ever made". Alan Silvestri, the film's composer, has a great record with Robert Zemeckis and more recently with Marvel.
Sadly, for all this build-up, none of the talent involved in Red 2 comes close to matching their reputations, on either side of the camera.
Whatever the merits of its predecessor, this film is ultimately rather lacklustre in both its story and execution. While it's assembled in a workable enough manner to pass a couple of hours, it is in the end pretty forgettable fare, and considering who is involved that is the last thing that it should be.
Part of the problem lies in the attitudes of the cast. Todd Gilcrist wrote in his review that Bruce Willis "seems unmotivated to smile at all, much less offer a series of emotions that constitute a believable or compelling performance.
That wouldn't be a problem if the film were a sombre, depressing existential parable, but it is a problem when you're trying to make an upbeat action thriller with lots of jokes.
Much like Sean Connery, Willis is an actor who clearly betrays when he does and doesn't want to be in a given film.
When he's confident in a script or having a blast on set, such as in Die Hard, Twelve Monkeys or Looper, he holds himself much more precisely and seems far more natural in his movements.
When he's doing something purely because he needs the money, he slumps his shoulders, narrows his eyes and is much less responsive to his fellow actors.
While this is by no means his worst performance, let alone his worst film, it does give off vibes of him only doing the part because he has to be that.
It's not just Willis that seemingly doesn't want to be involved. John Malkovich has been tetchy and irritable in other films such as Shadow of the Vampire , but there's a weariness to his performance here which doesn't gel with the character's dynamic dialogue.
Helen Mirren doesn't get a greal deal to do, and her attempts at deadpan humour just come across as flat readings. The only main actor who commits and engages to the required level is Byung-hun Lee, and his character seems to have escaped from a far better, far more interesting film.
The plot of Red 2 is decidedly episodic. Much of the film is built around set-pieces, either involving Lee's character wanting revenge on Willis or a third party becoming the target of either side.
The set-pieces are technically accomplished, with good pyrotechnics, decent CGI and some realistic sound design, but there's not enough of any substance to link them together in a meaningful manner.
To borrow from Shakespeare, it's a lot of sound and fury, signifying very little. In slightly different hands, this could have been handled better.
The red mercury buried beneath the Kremlin is a neat little plot device, and Brian Cox and Anthony Hopkins do wring the most they can out of their supporting roles, channeling the more thoughtful, more British spies present in The Ipcress File.
All the little twists involving people changing sides which could have been used to drive the film are instead presented like the action sequences - as distractions, and nothing more.
The same goes for the romantic subplot-cum-love triangle that the script tries to tease out. There is potential albeit well-worn potential in both the female characters' main conceits, i.
But while Catherine Zeta-Jones takes to her costume well, it's ultimately a lot of under-developed flash, and Mary-Louise Parker isn't all that convincing.
In the midst of all this, it is more than possible to enjoy Red 2 as empty, disposable spectacle. It's clearly not trying and failing to make a lot of important political points, and its lack of pretension is to be applauded as much as its lack of ambition should be decried.
If you only go to the cinema to see explosions, car crashes and famous people in various slow-motion poses, this will satisfy your appetite.
Red 2 is a disappointing action thriller which finds both cast and director falling short of their past potential. While the action is technically sound and there are a few witty or impressive moments mainly involving Lee's character , it's ultimately too lackadaisical and episodic to cut the mustard.
In the end it's not a bad film per se, just an aimless one which could have been a lot better with a tighter script and a stronger hand at the helm.
Dean Parisot gives Red 2 , like its counterpart, a solid mixture of comedy and action. At first, minutes sounds like a marathon for a movie of this caliber; however, the pacing is quick and to the point.