Movie Review: St4llone, St4tham Are Back in ‘Expend4bles,’ Yet Another Expend4ble Sequel

 This image released by Lionsgate shows Sylvester Stallone in a scene from "The Expend4bles." (Lionsgate via AP)
This image released by Lionsgate shows Sylvester Stallone in a scene from "The Expend4bles." (Lionsgate via AP)
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Movie Review: St4llone, St4tham Are Back in ‘Expend4bles,’ Yet Another Expend4ble Sequel

 This image released by Lionsgate shows Sylvester Stallone in a scene from "The Expend4bles." (Lionsgate via AP)
This image released by Lionsgate shows Sylvester Stallone in a scene from "The Expend4bles." (Lionsgate via AP)

It’s a throwaway line, but maybe a bit too meaningful, under the circumstances. “Gravity is setting in,” says Barney, Sylvester Stallone’s aging character in “Expend4bles,” when someone asks how he’s doing.

Indeed. Gravity is setting in throughout “Expend4bles,” a movie whose most enticing mystery is not the secret identity of its shadowy villain, but how you pronounce the film’s title. Are we supposed to enunciate the mid-word numeral, or is it merely visual? Is this what stands for a smart new spin on a tired franchise? Will we soon have “My Big F4t Greek Wedding”? Are these questions supposed to distract us from how stunningly mediocre the film is?

Perhaps we digress. This is, obviously, the fourth “Expendables” film, but our considered scientific opinion is that you needn’t see the first three to catch up. True, there’s no explanatory intro, but if you’ve seen earlier “Expendables” films, you’ll know there’s not much to know. These guys are the indestructible mercenaries who swoop in – literally, on Barney’s turboprop plane – to do dirty work in miserable places. The body count is head-spinningly high (this film, directed by Scott Waugh, returns to an R rating after a switch to PG-13 for the last installment). The dialogue is head-spinningly mundane. The flow of testosterone is, well, head-spinning.

Leading the pack, as ever, is Stallone’s Barney Ross and his expert knife-wielding best bud, Lee Christmas — Jason Statham, reveling in his Cockney charm and smiling more than usual. (This is not a bad thing. Statham has a nice smile. This may be the only good thing.) Also back are Dolph Lundgren’s Gunner and Randy Couture’s Toll Road.

And now, perhaps in a nod to the previously unrecognized fact that half the human race is female, we have Megan Fox as mercenary leader Gina. More on her in a bit. Also providing new blood is Andy Garcia as a prickly CIA handler, Curtis “50 Cent” Jackson as an ex-Marine and new team member, and two martial arts stars: Iko Uwais as ruthless arms dealer Rahmat, and Tony Jaa as quiet warrior Decha. Other additions: Jacob Scipio is the son of Antonio Banderas’ character from the last film, and Levy Tran is a new female teammate, adept with a whip chain.

Got all that? In a prelude scene in New Orleans, we reconnect with Barney, who now has salt-and-pepper hair, and a bad back — so bad, he enlists Christmas to help him recover his prized skeleton ring at a biker bar, which he’s lost in a thumb-wrestling contest. The thugs dispatched and the ring collected, it’s time to get back to work.

This means a trip to Libya, where aforementioned arms dealer Rahmat (Uwais) is securing detonators for a nuclear weapon. CIA handler Marsh (Garcia) needs the Expendables to stop him. The other thing you should know is that Barney is determined to unmask a shadowy figure codenamed Ocelot who’s maybe pulling all the strings.

Not surprisingly, the Expendables run into resistance. The body count mounts, and then something happens that will change the trajectory of the film. We can’t give it away, but let’s just say it brings Statham’s Christmas to the forefront for much of the film.

But he makes an early error that sidelines him for a bit. Leading the next stage of the mission will be Gina (Fox), his ex (or maybe current?) girlfriend. Gina is introduced to us the only way a woman in a testosterone-dripping franchise like this can be: Sexy AND crazy, yelling like the dickens in a hot little dress. She also wears an absurd amount of makeup, including on the mission. Apparently, there’s a brand of matte lipstick that holds up very well through mortal combat. Which is convenient if your ex-boyfriend may or may not be showing up.

All this action takes place on a freighter where the aforementioned nuclear bomb is being stored. It includes countless killings and also a motorcycle chase (on a freighter!) It all gets very tiresome.

It doesn’t help that the special effects sometimes seem thrown together with about as much care as the script. Some of the most obvious green screens provide inadvertent comedy. As for intended comedy, the only truly funny scene is when Christmas, sidelined, tries out a job as security detail for an obnoxious social media influencer.

The likable British action star is having a busy year. In “Expend4bles,” as mentioned, they let him smile a lot, and it’s a nice touch. Still, if there’s an “Expend5bles,” they’re gonna need more than a Statham smile and another mid-word numeral in the title.



Movie Review: In ‘Deadpool & Wolverine,’ the Superhero Movie Finally Accepts Itself for What It Is 

Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
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Movie Review: In ‘Deadpool & Wolverine,’ the Superhero Movie Finally Accepts Itself for What It Is 

Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)

If one thing is certain about “Deadpool,” it’s that its titular hero, for reasons never explained, understands his place in the world — well, in our world.

Indeed, the irreverent and raunchy mutant is sure to belabor his awareness of the context in which he lives — namely an over-saturated, increasingly labyrinthine multibillion-dollar Marvel multiverse which spans decades, studios and too many films for most viewers to count.

From its inception, the “Deadpool” franchise has prided itself on a subversive, self-aware anti-superhero superhero movie, making fun of everything from comic books to Hollywood to its biggest champion, co-writer and star, Ryan Reynolds.

It’s no surprise then, as fans have come to expect, that the long-anticipated “Deadpool & Wolverine” further embraces its fourth wall-breaking self-awareness — even as it looks increasingly and more earnestly like the superhero movie blueprint it loves to exploit. That tension — the fact that “Deadpool” has called out comic book movie tropes despite being, in fact, a comic book movie — is somehow remedied in “Deadpool & Wolverine,” which leans into its genre more than the franchise’s first two movies.

Perhaps this gives viewers more clarity on its intended audience. After all, someone who hates superhero films — I’m looking at you, Scorsese — isn’t going to be won over because of a few self-deprecating jokes about lazy writing, budgets for A-list cameos and the overused “superhero landing” Reynolds’ Deadpool regularly refers to.

But this time around, director Shawn Levy — his first Marvel movie — seems to have found a sweet spot. Levy is surely helped by the fact that the third film in the franchise has a bigger budget, more hype and, of course, a brooding Hugh Jackman as Wolverine.

That anticipation makes their relationship, packed with hatred and fandom, all the more enticing. Their fight scenes against each other are just as compelling as their moments of self-sacrificial partnership in the spirit of, you guessed it, saving the world(s).

Speaking of worlds, there is one important development in our own to be aware of ahead of time. The first two “Deadpool” films were distributed by 20th Century Fox, whose $71.3 billion acquisition by the Walt Disney Co. in 2019 opened the door for the franchise to join the Marvel Cinematic Universe.

Perhaps unsurprisingly, “Deadpool & Wolverine” takes full advantage of that vast playground, which began in 2008 with Robert Downey Jr.’s “Iron Man” and now includes more than 30 films and a host of television shows. The acquisition is also a recurring target of Deadpool’s sarcasm throughout the movie.

Although steeped in references and cameos that can feel a bit like inside baseball for the less devoted, “Deadpool & Wolverine” is easy enough to follow for the casual Marvel viewer, though it wouldn’t hurt to have seen the first “Deadpool” and Jackman’s 2017 “Logan,” a harbinger of the increasing appetite for R-rated superhero violence. The Disney+ series “Loki” also gives helpful context, though is by no means a must watch, on the Time Variance Authority, which polices multiverse timelines to avoid “incursions,” or the catastrophic colliding of universes.

A defining feature of “Deadpool” has been its R rating and hyper violent action scenes. Whether thanks to more money, Levy’s direction or some combination of the two, these scenes are much more visually appealing.

But “Deadpool & Wolverine” does succumb to some of the deus ex machina writing that so often plagues superhero movies. Wade Wilson’s (the real identity of Deadpool) relationship with his ex (?) Vanessa is particularly underdeveloped — though it’s possible that ambiguity is a metaphor for Deadpool’s future within the MCU.

The plot feels aimless at points toward the end. One cameo-saturated battle scene in particular is resolved in a way that leaves its audience wanting after spending quite a bit of time building tension around it. While there are a few impressive stars who make an appearance, audiences may be disappointed by the amount of MCU characters referenced who don’t make it in.

The bloody but comedic final fight scene, however, is enough to perk viewers back up for the last act, solidifying the film’s identity as a fun, generally well-made summer movie.

The sole MCU release of 2024, “Deadpool & Wolverine” proves it’s not necessarily the source material that’s causing so-called superhero fatigue. It also suggests, in light of Marvel’s move to scale back production following a pandemic and historic Hollywood strikes, that increased attention given to making a movie will ultimately help the final product.