Assassins

Assassins is definately one of the better written action films I've seen, but then again, it was written by the Wachowski Brothers, who also wrote (and directed) the equally well done Matrix.

This film was directed By Richard Donner, who also directed Lethal Weapon 1-4 and Superman, among other films. I felt the characters were all well presented and the story was told well.

Apparently, Brian Hegleand rewrote parts of the script, but I can't imagine what, since the whole script seems so Wachowski. Huh...

"Assassins" occupies a strange and strangely brief period in Sylvester Stallone's career. In the midst of the over-the-top antics of "Demolition Man" and the...over-the-top antics of "Judge Dredd," he made two films about Brooding Men of Action lured into One Last Job where they happen to Fall In Love and wonder What It's All For. Sure, Ray Quick likes to blow things up real good while Robert Rath just has a silenced .22, but now we're splitting hairs. The major difference is that while "The Specialist" soon turned into the ridiculous actioner most of Stallone's output embodies, "Assassins" tries to be a quieter (literally), more grounded thriller. Sadly, that does not make it a better, or even good, film.

It does make an interesting first impression, though. The opening scene is striking, a black-and-white montage that feels abstract in its construction - a lot of emphasis on ticking clocks and cloudy skies. It's almost totally disconnected from the movie we end up getting, which only makes it more memorable. Perhaps if things had continued in that vein, it might have been onto something. But then it remembers it's a Stallone film.

"Assassins" is somehow both incredibly simple and far too convoluted for its own good, but the basic premise is a cat-and-mouse game between Stallone's weary veteran Robert Rath and crazy young upstart Miguel Bain for the presumably venerated position of #1 killer in the...country? World? Other stuff happens, like a MacGuffin courtesy of hacker gal Elektra, but whatever. At 132 minutes, the film is far too long for the amount of plot it actually contains, with at least two scenes that achieve absolutely nothing beyond padding. Richard Donner, shepherd of the "Lethal Weapon" franchise, is out of his depth here - his action scenes alternate between silly and unremarkable, and his usual flourishes - blurry slow-mo, highly-destructive car chases - feel out of place. He's very much a more-is-more director, which is the wrong approach for this material, and it shows.

Of course, it all comes back to the script. Reportedly, the original draft by the Wachowski siblings was thrown out and completely rewritten by "L.A. Confidential" and "Conspiracy Theory" scribe Brian Helgeland, at Donner's behest. If so, Helgeland delivered something that neither plays to Donner's strengths nor contains any of the siblings' quirky flair. For example, in the original draft (which you can find a link to on Wikipedia) there is a chess metaphor that recurs throughout, symbolizing Rath's relationship with his mentor, Nikolai. Helgeland gives this a perfunctory mention - in the middle of a car chase, no less - and it amounts to nothing in the end. A major twist would have been more effective if it made more sense, or wasn't dismissed almost immediately. Half-formed story beats are probably the least of its problems, anyway.

Acting-wise, it has even more parallels with "The Specialist." Stallone, trying his hand once again at a more dour, repressed version of his usual persona, has the brooding look down, but falters badly when trying to inject a (terrible) one-liner. It's a vague glimpse of his superb work in "Cop Land," but stunted by his attempts to also be the action star. Moore, whose career would soon take off with "The Lost World" and "Boogie Nights," is similarly hamstrung by the material she's given. There's none of the depth of emotion she brings to her best roles, but then, Elektra has none of the depth of character that Moore's usual roles do. Hey, you gotta pay the bills somehow.

No, as with James Woods in "The Specialist," it's the bad guy who wins out. Miguel Bain, like everyone else, is barely a character, but Antonio Banderas infuses him with such manic, live-wire energy that he overcomes the trite dialogue and wobbly tone to be the best thing about the film. To its credit, Banderas is given free reign to go way out to lunch, and while he can't possibly save it, he definitely carries it.

"Assassins" is best considered an oddity in the careers of just about everyone involved. It's not what you'd expect from Stallone, Donner or Moore, and it might be worth seeing as an attempt for each to stretch themselves - though all would have better success with later work. As for Banderas, it's definitely one of his most entertaining turns, though not enough to raise this above a last-resort recommendation. If you're a film enthusiast, compare the Wachowskis' and Helgeland's drafts on Wikipedia, and try to envision the film this might have been. It can't have been any more confused about itself.

There are some touches that makes me think of Matrix in this film. The gunfighting scenes are really good, mostly because they are very silent - the assassins both use silencers, which adds new flavor to a well-used dish. I like that part very much. And Banderas is great to watch as usual. There simply isn't anyone with his mimics and his body language anywhere else. Stallone does a good job too, actually. And Julianne Moore, yeah well - who could say anything bad about her?

Entertaining, fast-moving - and please! Check out that gunfight again.

I thought this was a great action flick. I'm really into this genre of movies. I don't particularly like Sylvester Stallone but he was pretty good in this movie. Julianne Moore was good but I think she would've been better if her role was bigger. But I think Antonio Banderas stole the show. He was so good as the psychopathic assassin. I loved the chase scenes. Especially the scene in the taxi. Miguel Bain's (Banderas) evilness just oozed out of him as this scene played. Robert Rath (Stallone) wanted to kill Bain so bad during this scene. I loved the explosions. I just had a thought though. Whenever Rath blew Bain out of the window and then it showed Bain in the bathtub, shouldn't he have had more wounds than it showed? I don't know. Maybe it was just me. Anyways. This movie had violence but not as much as most movies in this genre does. I thought it had just enough. The ending was pretty good. It seemed like Bain just would not die. An invincible villain! How many times have you seen that in these kinds of movies? Well, I don't have much more to say about this film except I really enjoyed it and thanks for reading my review! Bye!

Professional hit-man Robert Rath wants to fulfill a few more contracts before retiring but unscrupulous ambitious newcomer hit-man Miguel Bain keeps killing Rath's targets.

How often are Sylvester Stallone and Antonio Banderas in the same movie? Not very often. And how often are they both killers, who would be more than happy to kill each other? Only once, so far as I know. It is a great combination, and proof that Stallone was not just a star of the 80s -- he is just as strong here (and some would say he is still good in 2015).

This also happens to be one of those Julianne Moore films that has her as a main character before you realized that Moore was a big star. Maybe at this point it was more obvious, but it is quite surprising how many films she did before she was seen as an A-list actress.