Directed by:
Patrick HughesCinematography:
Peter Menzies Jr.Composer:
Brian TylerCast:
Sylvester Stallone, Jason Statham, Antonio Banderas, Arnold Schwarzenegger, Jet Li, Wesley Snipes, Dolph Lundgren, Kelsey Grammer, Randy Couture, Terry Crews (more)VOD (5)
Plots(1)
Barney (Stallone), Christmas (Statham) and the rest of the team comes face-to-face with Conrad Stonebanks (Gibson), who years ago co-founded The Expendables with Barney. Stonebanks subsequently became a ruthless arms trader and someone who Barney was forced to kill... or so he thought. Stonebanks, who eluded death once before, now is making it his mission to end The Expendables -- but Barney has other plans. Barney decides that he has to fight old blood with new blood, and brings in a new era of Expendables team members, recruiting individuals who are younger, faster and more tech-savvy. The latest mission becomes a clash of classic old-school style versus high-tech expertise in the Expendables' most personal battle yet. (Lionsgate US)
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Reviews (14)
Morons need friends. While the second installment surpasses the first one in mutating into long action orgies that can only be interrupted by a witty line or a minor plot twist, the last foray into 80s nostalgia surprisingly does the exact same thing. It doesn't stop, it doesn't take a breath, for two hours it throws various fighting tactics at the audience, all enveloped in a disgruntled retirement subplot. Moreover, Mel Gibson's unsettling ex-Expendable works brilliantly, especially because he isn't a villain in the classic sense of the word, but a guy whose nerves are on edge (though his own nerves occasionally lightly hold him back). Thanks to Sylvester Stallone's unbreakable buddy chemistry with anyone, this team of walking bulletproof vests managed to reach such heights. Considering the zero box office revenue, it will likely remain there – and considering the maximum satisfaction and sense of closure at the end credits, I can actually live with that.
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You bet I’m overrating it, because at last they managed to fine tune it. The first part was about nostalgia, part two just blinked by, part three is a big show about revenge, education and the team spirit, what else? The primary strength is Gibson, hungry for a proper role, he relishes every minute on screen, but he has criminally few of them. Snipes is out of jail and making himself known. He’s still got it. The king of the snappy line is definitely Banderas and his mouthy Galgo, his broken English enough to drive the audience round the bend. And what about the old gang? Still singing the same tune, they work well together, even if it’s sometimes a bit knives out. Arnold and Jet question their orientation with a smile. Anything for a laugh. And the youngsters a pretty fine too. Hughes proves himself to be the best director of the trilogy yet, despite occasional confusing action scenes, he has everything in hand and so in visual terms Expendables 3 comes out on top. The screenplay is full of holes and gigantic, in places exaggerated (the house packed with C4 and tanks), in places too restrained finale (Sly vs. Mel), but at least it’s consistent. In any case, it’s one big show that is best scene on the silver screen. - Why did they call you Doctor Death? - I was a medic.
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This movie is so terribly gay that if I were to unexpectedly walk into one of the RVs some night during filming, I believe I'd collide with an Italian Stallion clinging his powerful lips to the shaved nipple of a cute giggling Terry Crews, with Austrian-eyed Arnold rubbing a cigar on Statham's naked buttocks and Kellan Lutz with his pink lips behind the camera shooting the whole thing. The downgraded access to a PG13 rating has, among other things, traded blood for cold man sweat, and thanks to motivational bullshit like a gym coach, we suddenly have not an action movie in front of us, but a classic prepubescent muscle show for young Leo Beráneks. Logically, then, the best action scenes here are the skillful Banderas and Ronda, because they at least pretend to have some choreography. I don't think that the lower level of accessibility automatically reduces the functionality of the action scenes, just that for this action and the forms the filmmakers have chosen for it to it take (knives, machetes, close-range shooting), it doesn't work. Not even the LazyTown-esque special effects help. And as for Stallone and his old-man dragging of pensioner's dilemmas into an action movie, all I can say is "Sly, go to Pelhřimov. They have a crematorium there. Take a good look around. See what you're getting into." Actually, the whole thing reminded me of a pub owner I met recently who, when asked what kind of beer they had, said, "We’ve got Budvar. But I wouldn't have any."
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Probably the weakest Expendables, but it's still a funny ride!! Great casting, super pacing, awesome wisecracks and banter, and pretty decent action makes for an above average experience for me. Mel Gibson is fine, but he can’t match Jean-Claude Van Damme, Antonio Banderas gave the film some juice, but he got on my nerves after a while, Jet Li again showed nothing, as if he was ashamed, he showed no interest, even the one sentence he said here he stuttered... Oh my god what happened to you? And what separates me from a 5* star are the truly terrible visual effects and explosions, which I last saw in a SYFY movie, and the absolutely botched final fight Stallone vs Gibson, which didn't even have a choreography, probably just improvisation. I'm glad I saw the film at home, as I probably would have left the cinema disappointed, but it's a perfect thing to watch at home. 75%
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A couple of minutes after the end, and I already don’t know what it was about. Maybe it’s because it was about nothing... :) While the second one made my heart skip a beat at the fact that an action film today can still be so genuinely entertaining and that can transfer that vigour to the viewer, the third one is a soulless, uninspired carnage that only tries to win fans by how many famous names appear in as super-stylish badass icons. The best character is hands down Banderas’s, who spices up the dull parade of B-movie action and script recycling at least for a while with much-needed, previously completely derivative humour. 45%
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