RED 2

Directed by Dean Parisot.

2013. Rated PG-13, 116 minutes.

Cast:

Bruce Willis

Mary-Louise Parker

John Malkovich

Catherine Zeta-Jones

Byung-hun Lee

Helen Mirren

Anthony Hopkins

Neal McDonough

Brian Cox

After the events of the first RED, secret agent Frank (Willis) and his then damsel-in-distress Sarah (Parker) have settled down to a nice quiet life. While out shopping for power tools, they run into Marvin (Malkovich) who informs them that people are still after him and he needs Frank to join him in catching some bad guys. Thinking Marvin is crazy, Frank declines, despite Sarah's protestations. She's become bored with the quiet life. Marvin approaches them again in the store parking lot. Frank turns him down again. Next thing you know, Marvin's car blows up with him in it. This sets in motion a chain of events that leads our heroes around the world, picking up Victoria (Mirren) and Ivan (Cox) along the way. Eventually, things lead to a thingamajig that could blow up everything. Meanwhile, the number of people after them grows and contracts at various points.

RED 2 does the same thing as its predecessor in terms of how it handles its characters. It takes a bunch of stars and lets them all kind of do their thing. They form a totally charming ensemble and appear to be having loads of fun. Regardless of what's going on, it's a blast watching them. Most enjoyable is John Malkovich. No, Marvin doesn't die in the explosion. Spoiler alert not needed. He plays the paranoid, slightly crazed, but ultimately wise agent to perfection. Bruce Willis seems to be stifling laughter much of the time which is always amusing. Helen Mirren once again kicks ass as the cold-blooded assassin whose really a romantic at heart, but gets less screen time this go round. Still, her exchanges with Brian Cox are very funny. This core group is joined by Anthony Hopkins, Catherine Zeta-Jones, Byung-hun Lee, and Neal McDonough all taking glorious turns chewing chunks of scenery. Zeta-Jones is particularly good in her role as "Frank Moses kryptonite."

Unfortunately, the story our heroes and villains tell fails them. Individually, the various elements of the tale could all make their own fun little movie. Thrown together haphazardly, as they are, it's a convoluted mess. Our focus has to jump around the numerous strands, all of which are pulled together in the most contrived ways imaginable. It attempts to be a roller coaster of epic proportions. Instead of gliding through the loops and being pulled joyously from the heights by gravity, we're jerked about the tracks as the frame creaks and sent plunging toward the earth, uncertain the ride will hold up under our weight.

The difference between our feelings about the performers and their material is vast. As viewers, we're left in a weird spot. We enjoy watching them employ their craft. They make us laugh. So the movie functions fairly well as a comedy. However, we're rolling our eyes at the actual events taking place. There are too many of them and they don't quite work with each other. The chefs in this particular kitchen have thrown a bunch of ingredients together without any rhyme or reason and created a dish that has some great elements, but doesn't quite work.

RED

Directed by Robert Schwentke.
2010. Rated PG-13, 111 minutes
Cast:
Bruce Willis
Mary-Louise Parker
John Malkovich
Morgan Freeman
Helen Mirren
Karl Urban
Brian Cox
Julian McMahon
Richard Dreyfuss
Ernest Borgnine
Karl Urban

Frank (Willis) is a retired CIA agent who has taken a shine to Sarah (Parker), a telephone customer service rep. Soon enough, he suddenly makes his way to her apartment in Kansas City because the agency is apparently out to kill him for something we don’t yet know and to kill her pretty much just because. Since she doesn’t really know Frank, other than their frequent phone conversations, he has to drag her along, kicking and screaming. Traipsing across the country, narrowly escaping death while getting “the band” back together to help him figure thing thing out ensues.

The band is made up of other former black-ops specialists from various organizations that comprise Frank’s friends. There’s Marvin (Malkovich) who is so paranoid, he lives underground. Joe (Freeman) scopes out nurses at the rest home where he resides. Finally, there’s Victoria (Mirren). She’s a foxy older lady who has a thing for high-caliber firearms.

Red does what it does well enough that we can overlook what it is not so good at. It’s good at letting its cast use their familiar personas to draw laughter. Malkovich is particularly effective here, at his neurotic best. It’s good at keeping us guessing what’s really going on without becoming bogged down with maintaining the suspense. It is also surprisingly good at action, given that most of the cast is well beyond their physical primes. Though longtime action hero Willis does have a number of bright spots, its Mirren who shines brightest in this area. Thankfully, we don’t see her trying to perform any superhuman feats. That would be laughable, in a bad way. Instead, she does things she can be reasonably expected to and makes them infinitely more watchable than they should be. Her irrepressible presence makes her compelling in any role. When that is combined with the affinity most action fans have for gunfire, she’s doubly so. Her character also provides us with an interesting subplot about something from her past that may become her present.

What this movie doesn’t do well is develop its characters. For the most part, it skips that task. It prefers to rely on the fact that we expect certain things from each other and tries its darndest to give it to us. It never feels like we’re watching Frank, Marvin, Joe and Victoria. We’re always watching Bruce Willis from the Die Hard movies, John Malkovich from his Coen brothers flicks, Morgan Freeman the wise old sage and Helen Mirren the regal British lady. That’s not necessarily a bad thing, it just renders the movie a bit shallow. Then again, I think shallow may be the point.

Recently, there have been a slew of similarly themed movies. Though this doesn’t revel in its own ridiculousness quite the way The A-Team does, I find it just as enjoyable. It finds its own level of plausible absurdity and runs with it. It’s what The Expendables tries to be and what The Losers can only dream of being.