Assassins

In order to really enjoy this movie, you have to put your brain in a freezer for 133 minutes and just refrain from trying analyze anything in here. There are more holes in this story than swiss cheese, as the cliché somewhat goes.

Having said that, however, I did enjoy the action scenes and the by-play between the two assassins - "Robert Rath" (Sylvester Stallone) and "Miguel Bain" (Antonio Banderas) - enough to make it a fun ride. I might even have rated it another star higher had a few things weren't confusing and left unanswered, or Banderas spoke clearer English. Still, it's not bad and for fans of "Sly" and action films, worth a look.

This movie is very entertaining and has appropriate amount of action and suspense. The action sequences are great and the interactions between Stallone and Banderas excellent. If you're a fan of action films, this one is definitely worth a watch.

When I firast watched this film,I enjoyed it thoroughly. Ironically enough in the advent of John Woo (his american popularity and his imitators) as well as Micheal Bay, Tony Scott, and Jerry Brukhiemer, it is rephreshing to see an action movie, a shoot-out action movie, where the emphasis is on efficiency and control rather than chaos. Unlike the John Woo pilosophy of keeping the guns firing non stop even if they hit nothing, Assassins works on the exact opposite theory of every shot has a purpose and a meaning and no shot is taken wildly even to distract (add on to the fact that in most John Woo movies, and especially Michael Bay movies, the guns are super loud, whereas in Assassins, pretty much every shot thats fired is silenced). I beleive there is only one instance in the film where shots are fired wildly wnd wrecklessly, and that is during the apartment scene where Antonio Banderas' character. Micheal Bein, shoots blindly through a wall at Slyvester Stallone's character, Robert Rath. Other than that, there is not really anytype of panic fire or wild bullet spraying (in fact I dont beleive this film even features automatic rifles of any kind). Strangely enough, this allows for events that move extremly quick: example, the first scene featuring the three title characters in the hotel. We see Antonio Banderas, in the blink of an eye alomst, take out 3 guards, walkinto the room they were guarding and then take out the 4 targets in that room in the same amount of time. In a way, it is very similar to the old Samurai films since their action scenes moved in a similar manner with nothingn then all of a sudden a few quick sword strikes and the conflict is over. That being said, this movie would require a certain type of taste in action movies or is a type of movie you have to be "in the mood" to watch.

sidenote: When I first watched this film, I had no idea it featured the would be superstar Antonio Banderas, nor that it was written by the soon to be Matrix creators. In that sense it is almost a fun movie to watch because it kinda answers the question "what did they do before they were famous?" and now you know.

"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.