 | The Expendables /Sylvester Stallone: Expendables/ |   | ||
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| Year: 2010 | ||
Followed by:
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| Director: Sylvester Stallone | ||
| Cast: Sylvester Stallone, Jason Statham, Jet Li, Dolph Lundgren, Eric Roberts, David Zayas, Giselle Itié, Charisma Carpenter, Gary Daniels, Mickey Rourke, more >> | ||
| Genres: Action, Adventure, Thriller | ||
| Runtime: 103 min. | ||
| IMDB: This film on IMDB | ||
| Soundtrack: available | ||
| Wallpapers: available | ||
| Plot: It is 1199 and Robin Longstride (Russell Crowe) is a common archer in Richard the Lionheart’s (Danny Huston) army. A veteran of the Third Crusade and Richard’s war against Philip II of France (Jonathan Zaccaï), he now takes part in the siege against Chalus Castle. Following the death of Richard the Lionheart, Robin and two other common archers, Alan A’Dale (Alan Doyle), Will Scarlett (Scott Grimes), as well as soldier Little John (Kevin Durand), attempt to return to their homeland, having spent ten years fighting abroad. Along the way they come across an ambush of the Royal guard by Sir Godfrey (Mark Strong), an English knight with French allegiance. Philip of France had ordered Sir Godfrey to assassinate Richard. Having discovered the King is already slain, Sir Godfrey is chased off by the arrival of Robin and his companions. Aiming to return to England safely and richer in pocket than when they left it, Robin and his men steal the armour of the slain knights and head for the English ships on the coast under the guise of noblemen. Before leaving the scene of slaughter Robin promises a dying knight, Robert Loxley (Douglas Hodge), to return a sword to the man’s father in Nottingham. Trailer:Upon arriving in England, Robin (who has assumed the identity of Loxley) is brought to London and chosen to inform the Royal family of the King’s death and witnesses the coronation of King John (Oscar Isaac), who is the younger brother of the recently-deceased Richard. The arrogant King John shows no remorse to his poor Kingdom and demands harsh taxes to be collected, sending Sir Godfrey off to the North with the task of raising revenue. Unbeknownst to King John, Sir Godfrey is an agent of the French King and uses this Royal Decree to stir up enough unrest, using French Troops, to cause Civil War in England. Robin and his companions head to Nottingham, where Loxley’s old and blind father Sir Walter (Max von Sydow) asks him to continue impersonating his son, in order to prevent the family lands being taken by the crown. Loxley’s widow, Lady Marian (Cate Blanchett), is initially distrustful of Robin, but soon warms to him when he recovers taxed grain for the townsfolk to plant. Meanwhile, Godfrey’s actions have stirred up the northern Barons, who march to meet King John, and demand the signing of a charter of rights. Having realized Godfrey’s deception, and knowing he must reunite his people in order to meet an imminent French invasion, the King agrees. A battle follows shortly where Godfrey’s men are interrupted while ransacking Nottingham, and chased off by Robin and the northern Barons. In the midst of the battle, Sir Walter is slain by Godfrey. The film climaxes with an invasion on England’s south coast by the French, who are met as they land by the English army. The English are victorious in the ensuing battle, during which Robin puts a arrow through Godfrey’s throat from long distance, however it is unclear as to whether it was a kill shot as Godfrey is seen laughing crazily whilst riding away. However, King John perceives the French surrendering to Robin, rather than to himself, as a major threat to his power. In the final scenes, King John reneges on his word to sign the Charter of the Forest, burns it, and declares Robin to be an outlaw. In response to this, Robin moves to Sherwood Forest with Lady Marian and his friends to form what will become the Merry Men of Sherwood Forest. | ||
Movie files: | ||
| Filename: The Expendables 2010.avi (1.37 Gb) | ||
| Codec: XviD MPEG-4 (www.xvid.org) | ||
| Video: 720x400; 25 fps; 524 Kbit/s; Vbr | ||
| Audio: Dolby AC3; 48 Khz; 384 Kbit/s; Stereo; Cbr | ||
| Rip: DVDRip | ||
| Cost: $2.99 | ||
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The Expendables comments / review | |
| Date: 2010-10-09 01:31:41 | User: PostFilm |
| Is The Expendables a self-conscious joke or a sly throwback to grindhouse fare like Enzo Castellari’s The Inglorious Bastards, which pitted the B-list likes of Fred Williamson, Bo Svenson and Peter Hooten against a pack of barking Nazis? How you perceive it depends on which side of the age divide you fall, but either way it’s a strong contender for the title of manliest movie ever made. Mercenaries Barney Ross (Stallone), Lee Christmas (Statham), Ying Yang (Li), Hale Caesar (Crews), Toll Road (Couture) and Gunner Jensen (Lundgren) have been all over this dirty world, collecting hefty paychecks to kick ass from Mombasa to Sarajevo and keep their mouths shut when they come home. They may be getting a little long in the tooth, but they’re impressively lean and mean without being heartless bastards. Really — they fall out with longtime companion Jensen because he wants to hang him a Somali pirate, and that’s just not their style. They garrote, gut and blow bad guys to smithereens, sure, but hanging a man is barbaric, Neanderthal crap and they don’t roll that way. Oh, and they don’t roll with junkies either, so strung-out Jensen gets the heave-ho after the gang finishes rescuing a bunch of bedraggled hostages in the Gulf of Aden. After getting his lavish tattoos touched up by former Expendable Tool (Rourke), Ross gets a new gig from the mysterious “Mr. Church” (Willis, uncredited despite the fact that he’s featured prominently on the movie’s poster), after trading barbs with best frenemy Trench (Schwarzenegger, also uncredited and not on the poster), who declares the job a fool’s errand. The assignment involves deposing Third World dictator General Garza (Zayas of TV’s Dexter), who, with the help of sleek Ugly American John Munroe (Roberts) and his sadistic sidekick Paine (Austin), has turned the banana republic of Vilena into an insanely lucrative, ruthlessly efficient cocaine-producing machine. Ross aborts the mission when he realizes that Church is with the CIA and they’re all Agency pawns in some cynical, black-op power struggle, but not before being profoundly moved by the efforts of Garza’s tough-yet-idealistic daughter (Itie) to help her brutally oppressed countrymen. Haunted by the fact that she refused to abandon them to save her own skin, Ross resolves to go back into the mouth of Hell and polish up his tarnished karma. Yes, the marks of tongue-in-cheek snark are all over The Expendables, from the characters’ ludicrous names (none of which is as slyly preposterous as “Randy Couture,” and that one’s for real — no wonder the guy became a mixed martial-arts fighter) to Christmas and Ross’ cover for their reconnaissance trip to Vilena. Sure, they’re ornithologists from the Global Wildlife Conservancy, and love that logo stenciled on their company plane — a glowering raven perched on a wireframe sphere (the ultimate insider’s nod to Stallone’s long-languishing Edgar Allan Poe biopic). And let’s not even get into the bits of business meant to humanize the muscle-bound anti-heroes — Li’s constant complaints about money (he deserves a bigger cut because he works harder than the rest, on account of being so small), Christmas and Ross’ ongoing debate about whether a blade is more efficient than a bullet, Road’s sensitivity about his cauliflower ear, Caesar’s fetishistic love for exotic ordnance... they're shorthand so short they barely register. But when push comes to shove, The Expendables , Like Stallone's 2008 Rambo plays it straight: The action is tight and tough, the aging stars (at 38, Statham is the baby of the group) look every bit as battered as they should, and Rourke singlehandedly turns the film’s most maudlin moment — Tool’s regret-soaked recollection of an innocent life he could have saved and didn’t — into something genuinely affecting. Stallone has never been subtle — not as an actor, not as a writer and not as an action icon — but The Expendables walks a slippery line between macho headbangers’ porn and nostalgic metafiction with remarkable roughhewn grace. | |
