They have no idea that we'd enjoy them bald, fat, winded after running up a short flight of stairs, playing with their grandchildren. Like the "Expendables" movies, "Escape Plan" squanders its opportunities for genuine nostalgia because, I suspect, its stars don't want to be remembered fondly for their old hits more than they want to show that they still got it, right here, right now. Inconsistencies in plot, character and physics are sewn up with quick cuts and the same techno-thriller musical score that has accompanied every action film for the past 15 years. The gun battles are without style or suspense. The fight scenes are standard wrestling matches punctuated by impalements or broken necks. The rest is something you've seen lots of, if you were an action fan in the 1980's and '90s with a functioning VCR or cable box.
This spectacular performance within a performance suggests that Arnold could have taken over where Klaus Kinski left off. To create a diversion for Sly to go skulking about the joint, Arnold rages inside his solitary 'hot box" cell, delivering aderanged monologue about evil and reciting the Lord's Prayer, all in mellifluous German. Arnold's generally impish portrayal of the coolest OG in prison. The possibility that Caviezel, whose spectral presence gave " The Thin Red Line" its soul and has always seemed more suited to play Pasolini's Christ than Mel Gibson's, is pretending he's in a mid-60's European art film.ġ. I just cans get past the failures in the storyline and the screenwriting. The way Curtis "50 Cent" Jackson, as Sly's "techno-thug" assistant, shouts, "That CIA bitch!"Ģ. Overall this was a pretty decent action experience. A mini-" Grand Illusion" brotherhood plot thread involving Schwarzenegger's alliance with a Muslim prisoner who ultimately goes out in a heroic blaze of glory, in the name of Allah, in an American action film!ģ. Character actor Vinnie Jones spoofing his numerous meathead/henchman roles, cycling between two expressions: indignation and sadistic glee.Ĥ. Yeah, it's a mishmash of good, strange ideas and generic nonsense, barely held together by Sly and Arnie.
The script's provocative political sentiment is that nations are irrelevant bureaucracies like the CIA and the Bureau of Prisons exist only to front deals between what Noam Chomsky would call "unaccountable private tyrannies." Hobbs ( Jim Caviezel), an immaculate, soft-spoken sophisticate (who would have been played by Anthony Perkins in another era), runs the show when he's not tending to his gorgeous butterfly collection. The Tomb is also one of those profiteering private enterprises, like Blackwater (which is mentioned as a source for its security personnel),which thrives on doing dirty work for the powerful. The Tomb is a place for the "disappeared" among terrorists, warlords and high-level gangsters. As negotiated by his boss ( Vincent D'Onofrio), his latest assignment is to escape from what used to be called a "black site," an uncharted holding facility for criminals no government cares to bring to traditional justice. Something about how Stallone's character, Ray Breslin, is the world's leading prison escape artist, hired to show correctional facilities their security weaknesses by breaking out of them. Also, Stallone’s hair looks especially weird.Alright, the plot. The ideological tension is never quite resolved, but this dynamic offers something to contemplate as the characters work through an entirely predictable tournament of combat. In a weird way, the film is targeted both at the economically dispossessed people who voted for Trump because of anger about what the Chinese were supposedly doing to the American economy and at the Chinese themselves. And yet, fascinatingly, at the same time, the key that ignites the plot is that well-meaning rich girl Daya gets kidnapped in Mansfield, Ohio, where she had hoped to get her phone-manufacturer daddy to open a new factory in the area, thus helping the rust-belt citizens get back on their feet and improve the image of Chinese brands. The most telling thing about this film is the way it tries (as did Escape Plan 2) to grow its appeal with Asian audiences by featuring non-Caucasian stars, such as skilled screen fighter Jin Zhang (best known in the west for The Grandmaster) and rising actor/pinup Harry Shum Jr (from Crazy Rich Asians).
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