a5c7b9f00b When his peaceful life is threatened by a high-tech assassin, former black-ops agent Frank Moses reassembles his old team in a last ditch effort to survive and uncover his assailants.
Frank Moses used to be CIA top agent but, now that he is retired, the secrets he knows make him a CIA target. He unites with ex-agents Joe, Marvin, and Victoria to use all their abilities to stay alive and stop the operation. They are labeled RED: Retired Extremely Dangerous, so an impossible mission is just another day at work
This film brings nothing new to the genre (old codgers show they still got spunk, like the last thirty years of the life of almost-eternal George Burns in art and in life). I don't however agree with some of the extremely negative reviews. Yes, it may be hard to see great actors like Mirren and Freeman hamming it up, but what the hell, they looked like they were having fun, and we all know that good roles aren't that easy for ageing stars – Mirren can hardly redo Elizabeth, can she? Sure, the thing is full of clichés, and there are several improbable segues. But we're all supposed to be grown ups by now, having seen a gadzillion Bourne type flicks, so we know that all spies keep hidey-holes full of weapons, passports and money, so we shouldn't gripe that it's not explained in the film. Just take ita given for the genre, sit back and enjoy the decent pacing, minimalist script (for once!), sympathetic actors (Mary Louise Parker is a major scene-stealer), and great casting for the secondary parts (Brian Coxa shady Russian, Richard Dreyfusan arms dealer who's channelling Dick Cheney, Rebecca Pidgeona CIA boss dragon lady). It's a Bruce Willis action slash comedy slash rom-com, for heaven's sake. Judged on its own terms, it's decent, well crafted, and I certainly didn't feel my time was wasted. Casablanca also started its mythic journeya well-made B film. This one won't agewell, of course, since comedies especially topical comedies never do, but for now its nice to see good actors having fun.
This is a deeply immoral film and everyone associated with it should be ashamed. The film goes far beyond the trivialization of murder to encompass also the trivialization of psychopathic murderers themselves. Four internationally famous film stars of a certain age have come together in this film to disgrace themselves and retrospectively damage their lifelong reputations by their appalling antics. John Malkovich, who has done such fine work in the past, here makes a complete ass of himself attempting unsuccessfully to be funny while playing a paranoid psychopathic killer. Ha. Ha. If Malkovich is that much of an insipid fool, then we must reevaluate his entire life's work. And then there is Helen Mirren. Carried away by her own vanity, one presumes, she thinks it cute to smirk and make wry smiles and witty asides while confessing eagerly that she simply can't stop killing people. Titter, titter, isn't she just the cutest thing? Now we turn to Morgan Freeman. How can a person of his supposed stature possibly lend his name and talent to this toxic soup of cutesy cutesy psychopathic killers? Does Freeman think he, like his vain and heedless colleagues, is also being ever so amusing? Does he too wish to start a new careera stand-up comedian? I have heard glowing reports of him for years from some of my best friends who are close friends of his: he is such a fine man, what a wonderful fellow. Well, I can now discount all of that,it all goes into the trash can. They can say what they like, but the evidence is before us, and that speaks louder than words. And this brings us to the mumbling, bumbling Bruce Willis. He does this sort of relentless killer thing all the time, so we expect nothing less of him. He, like Nick Nolte and countless others, evidently thinks he is Marlon Brando. That is why he mumbles and whispers all the time, so that only about half of what he says is audible. Idiot actors like Willis believe that mumbling 'draws the audience in' and makes them pay more attention to the empty, vacuous ego who mumbles. Yes, Willis, down boy, down boy! Producers know very well that when the hero mumbles incoherently in an action movie it doesn't matter, because nobody is listening to the words anyway, they are just waiting for the explosions and the gunfire and the screams. Who wants to hear what Bruce Willis is saying when he is busy shooting people and blowing things up? The dialogue in the script means nothing in such circumstances. Screenwriters are pointless vestigial organs to an action movie production: their dialogue is largely ignored, except for the odd sound bite to steer the audience through a cut or a transition of scenes. This film, like so many other Hollywood action movie monstrosities, is like a computer game. Bang bang bang. Boom boom boom. Flash flash flash. The aim is to killmany peoplepossible and 'score'. The aim is also to blow upmany thingspossible. Retard adolescents who spend their lives killing people on small screens like to have bigger and bigger explosions, and Hollywood action movies carry this over onto bigger screens, and with even bigger explosions. The more people who get killed and the more things that get blown up, and the bigger and more grandiose the explosions, the 'better' the action movie. And if John Malkovich can behave like a jibbering monkey and be the unfunniest funny man in the history of comic books, well that is meant to be really something too, especially if,in this film, he lives in an underground bunker which resembles the hideaway of a psychopathic teenaged computer nerd. For this film is quintessentially adolescent, and makes no pretence at embodying even the slightest flicker of either intelligence or conscience. I see that the film's director Robert Schwentke is currently making a film based on a comic book. Well, that sounds about right for him. But I wonder if he can read it? Is he that advanced? This film is based on 'a graphic novel' which presumably had no words and just pictures. That too figures. Such is the level of illiteracy in Hollywood today, that the 'books' on which films are based are now either without words or with mere comic balloons. The lunatics have finally fully and totally taken over the asylum, and they are all illiterate baboons. Today I got an email add from amazon.com advertising the DVD of the film RED with the catchline: 'Are you looking for something in our Comedy DVD department?' Well, what does that tell us? It is confirmation that the glorification of psychopathic murderers is now officially classedcomedy, and is desperately, uproariously funny. So funny is it in fact that all the world's genuine victims of psychopathic killers can be presumed to have been not murdered at all, but must really have died laughing. Yes, the next time a madman rapes and kills an unfortunate girl, that is comedy. All the people dying in Libya because of the psychopathic Gaddafi are really laughing themselves to death, with Helen Mirren wryly smiling and with that hungry killer's glint in her eye. Maybe Mirren, Freeman, Willis, and Monkeyvich should all go to Libya and help Gaddafi's African mercenaries murder people in the streets. Maybe they would be at home in that environment, and they could crack jokes with each other about it, making cute little smiles and wry glances at one another and could say every time a body falls in the street: 'I feel so good at being back at actively killing again,I have missed it so much.' And Monkeyvich could make apish facesthe court jester of the madman Gaddafi, while Mirren, Willis, and Freeman laugh heartily at how wonderfully exciting it all is.
Red has enough acting flourishes and incidental action pleasures to make it an adrenalin-jacked giggle, if not exactly the romp one so fervently expects.
Two aging black ops CIA agents Frank Moses (<a href="/name/nm0000246/">Bruce Willis</a>) and Marvin Boggs (<a href="/name/nm0000518/">John Malkovich</a>) discover that their names are on a RED (Retired, Extremely Dangerous) hit list because of a secret operation pulled years ago in the Central American country of Guatemala. Enlisting the help of former CIA operative Joe Matheson (<a href="/name/nm0000151/">Morgan Freeman</a>), ex-KGB agent Ivan Simonov (<a href="/name/nm0004051/">Brian Cox</a>), and retired MI6 sharpshooter Victoria (<a href="/name/nm0000545/">Helen Mirren</a>), they try to uncover their assailants and their reason for wanting to kill them with federal pension worker Sarah Ross (<a href="/name/nm0000571/">Mary-Louise Parker</a>) reluctantly tagging along. RED is based on a comic book written by Warren Ellis and illustrated by Cully Hamner. It was originally published by Homage Comics (an imprint of DC Comics)a three-issues series from 2003 to '04. It was later collected into a single trade paperback that includes both "RED" and "Tokyo Storm Warning", another comic penned by Ellis. The comic was adapted for the movie by screenwriting brothe1rs Jon and Erich Hoeber. It was followed by a sequel, <a href="/title/tt1821694/">RED 2 (2013)</a> (2013). He knew that Library of Congress numbers start with letters, whereas many municipal libraries use the Dewey system, which is generally a decimal number followed by the Cutter number, which generally starts with the first letter of the author's name. Frank recognizes the number on the postcardbeing in the Harvard-Yenching cataloging system used for cataloging Asian books. Stuck in the book with that call number is the list of people who were on the Guatemala mission, most of whom are now dead. The term "wet" comes from the Russian expression mokroye delo, meaning "wet job". It is a spy slang euphemism for murder or assassination and refers to the spilling of blood. KGB and CIA agents who functionassassins may be referred to"wet boys" performing "wet work"opposed to "dry work" like intelligence gathering. Why Marvin added "like peaches" to the term is most likely an allusion to the fact that it is difficult to eat a ripe peach without getting yourself all wet. What he was definitely alluding to is his contention that the helicopter circling over his house held assassins who were looking to kill him. Their own ex-employers, the CIA. From agent Gabriel Singer (<a href="/name/nm0001664/">James Remar</a>), they learn that the Guatemalan mission involved extracting a person from a village and that everybody on the hit list has been killed to silence them. From shady arms merchandizer Alexander Dunning (<a href="/name/nm0000377/">Richard Dreyfuss</a>), they further learn that the mission was to extract the now-Vice President Robert Stanton (<a href="/name/nm0573037/">Julian McMahon</a>) who, at the time, was a young lieutenant who wigged out and massacred the villagers. Dunning also attests that Stanton is the one trying to erase all the loose ends. Frank calls CIA agent William Cooper (<a href="/name/nm0881631/">Karl Urban</a>) and tells him to bring Sarah to him at the Evanston Power Plant in 15 minutes or will kill the Vice President. Cooper arrives alone, but a limo drives up a few minutes later carrying Sarah, Cooper's superior Cynthia Wilkes (<a href="/name/nm0682071/">Rebecca Pidgeon</a>), Alexander Dunning (<a href="/name/nm0000377/">Richard Dreyfuss</a>), and several thugs. While Cynthia holds Sarah at gunpoint, Dunning shoots the Vice President, then orders Cooper to cuff Frank and kill both him and Sarah. The plan is to say that Frank shot Stanton, then Cooper shot Frank and Sarah. In return, Cooper will be made head of the CIA. Dunning explains that he is really the mastermind of the assassinations and that he's just using the CIA to carry out the work. Cooper cuffs Frankordered but stuffs the key in his hand. When Frank starts walking toward Sarah, Cynthia points her gun at him, but Cooper shoots Cynthia. Frank applies a crushing blow to Dunning's larynx, after which he hugs SarahVictoria, Marvin, and Ivan arrive, taking out Dunning's thugs. The five of them depart together, leaving Cooper to handle the Vice President (who is still alive). Later, in the car, Marvin says he has a feeling that something terrible is going to happen, but Frank says that it can't be that bad because, for the first time, no one is following and trying to kill them. Ivan then reminds Frank of a favor he is owed and asks for his help with "a small nuclear problem" in Moldova. In the final scene, Marvin and Frank are racing through a Moldovan field, Frank pushing a wheelbarrow containing a nuclear warhead and Marvin wearing a dress, both being shot at by the Moldovan army. "Next time," Marvin yells, "your girlfriend can wear the dress!"
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