Akting Out

In Brightest Day, In Blackest Night
Please Do Not Believe The Hype
Let Those Who Watch The Lantern’s Flight
Go See This Movie
It’s Almost Right.

When you take into account that this movie has essentially failed at the box office, and it has been horribly panned by critics and fans alike, I was leery of seeing it. I might have passed it up altogether if a friend of mine hadn’t extended a last-minute invitation. I had multiple reservations about this film from the moment it was announced; foremost was Ryan Reynold’s ability to play a convincing Hal Jordan. Discussing the movie with a friend, and my hesitation to see it (he was in favor), we started discussing Ryan Reynold’s range. I asked him to give me a case where Ryan Reynold’s played the bad guy.

Being a fan of Green Lantern, it wasn’t just this story I was interested in. Of course, this movie is an origin story, telling the story of cocky pilot Hal Jordan’s acceptance of the ring of power from the dying Abin Sur, the reluctance of the long-established Green Lantern Corps accepting a human, and the inevitable first conflict that would establish Hal Jordan not only as a capable Green Lantern, but the one who would rise to become the greatest of them. Yes, most of us know that story.

A lot of us don’t know that Sinestro, once their finest warrior, would become their greatest nemesis. A lot of us don’t know that Hal Jordan would eventually be driven mad (check out the Death of Superman to see how it starts) and nearly destroy the entire corps while becoming one of the DC universe’s most tragic characters. Whoever played Hal Jordan didn’t just have to sell me on the cocky pilot; I wanted to see the seeds planted of what he would become in this film as well. I wanted to see Sinestro’s infallible arrogance.

For the most part, I wasn’t disappointed. The movie is far from perfect, in fact, it’s not even great, but it’s still a good time.

Hollywood has to walk a fine line with films like these; paying close attention to the fans, who will eviscerate something if they feel it’s done wrong, while being accessible to newcomers. Despite heavy doses of fan service, Green Lantern falls off the line occassionally. While stalwarts will recognize the hand of Geoff Johns, so much canon is ignored that it’s nearly offensive. This is especially true in the case of Parallax’s origin, which will surely cause a few “WTF?!” from fans.

Casting in this film is both hit-and-miss. I was blown away by Ryan Reynold’s portrayal of Hal Jordan, who transitions from arrogant pilot humble hero-in-training. Like most aspects of this film, his character development is often hurried, but he took the role seriously and you can tell in his performance. One can believe Ryan Reynold’s Hal Jordan will one day go nuts, if Hollywood chooses to go that route (are you reading, Hollywood? Go that route, please). Another pleasant surprise was Michael Clarke Duncan as Kilowog, drill instructor to the Green Lantern Corps. Again, when I heard this, I rolled my eyes. Big black guy playing big bad drill instructor? Seriously?

Instead, Michael Clarke Duncan brings a lot of heart to the character, turning what could’ve been a cliché performance into a role we would’ve liked to see more of. Mark Strong is another surprise as Sinestro, although there’s more talking than action from him. Sure, he can rouse the troops, but we never really get to see why he’s revered as the greatest Green Lantern. No shortage of arrogance on his part, and it’s in the lines he doesn’t speak. It’s in his eyes as he addresses the Guardians and meets Hal Jordan. The only real miss here is Tim Robbins as a Senator Hammond, a complete throw-away character, and I think he knew that.

The special effects are what they should be, but nothing jaw-dropping. A chief complaint I have with the film is that they did not use Parallax’s true form, which I think would’ve been a lot scarier than the thing they dredged up.

Top: The True Form Of Parallax

Bottom: The Film Form Of Parallax

Overall, Green Lantern isn’t nearly as bad as what you’ve been led to believe. I thoroughly enjoyed it, as both a fan of the series and a filmgoer. Most performances are surprises and the special effects are plausible, if nothing special. This is good Saturday afternoon fun, and if you don’t expect strict adherence to the canon, you’ll have a good time.

(c) Avery K. Tingle for Akting Out LLC

Post Footer automatically generated by Add Post Footer Plugin for wordpress.

As fiction writers, some of us find ourselves watching our characters settle their differences, as Eminem once put it, “in the bloodier way”. Some writers have been fortunate enough to go our entire lives without getting into a single fight (their characters always seem happier, too), while others have been in too many. The experiences one has with physical fighting almost always determines how plausible their fight sequences will be, and a poor fight sequence, no matter the medium, can often spoil an otherwise good story.

Alan Baxter, author of RealmShift and MageSign, hopes to make writing fight scenes easier with his companion piece “Write The Fight Right”. In this e-book, Alan, an accomplished martial artist, is good enough to demonstrate the subtle nuances of what makes a good fight while simultaneously warning others of the danger of real-life fighting.

I wish I had this book when I was still a kid, and still thought I was king of the world. Alan’s mastery of fighting is daunting and extremely well-expressed here. Nothing is overlooked, from the importance of descriptive footwork, how to detail character is in trouble, utilizing all five senses, especially the sense of smell. Even writing plausible scenes that involve weapons is included. The detail in each chapter is staggering; Alan simultaneously tells us how to create brutally realistic fight sequences while, on every page, all but screaming at us not to pursue real-life, in-the-street fighting. He’s right.

The book is only about twelve thousand words, but it’s also only $1.99. This is an absolute must-buy for fiction writers who even think they may write a fight sequence. Action and adventure writers will benefit from it as well. At its asking price, you can’t really go wrong.

If you want to learn more about Alan Baxter, or his books, hop on over to his webpage and give him a shout. Purchase Write The Fight Right from Smashwords for only $1.99.

Personal Note: I’ve been studying martial arts for more than twenty years, I only recently began training for the art, rather than the violence. Before that, I used to do a lot of fighting. I got hurt a lot, and I hurt a lot of people. As I get older and understand more the consequences of my actions, Alan Baxter’s “Write The Fight Right” was a humbling reality check. Movie and video game fighting is fun, and safe; real-life fighting is as dangerous as it gets. I think I’d almost rather have a gun put at my head then fight again because my survival odds are better. There’s nothing fun or cool about beating someone into unconsciousness and perhaps crippling them for life. This is especially true for martial artists, who are trained to do this very thing. Avoid a fight if you can; screw the name-calling and your ‘rep’. Just walk away. It’s not even about you living to fight another day, it’s about what you live with if you go too far.

(c) Avery K. Tingle for Akting Out LLC

Post Footer automatically generated by Add Post Footer Plugin for wordpress.

Worthy

While I’m a huge comic book fan, until recently, my preferences have run more towards DC. Even as a Marvel fan, I never really cared for Thor. When the movie was announced, I wasn’t that enthralled by the previews; Sir Anthony Hopkins as Odin was my primary reason for wanting to see this film. Although I read up on recent events on Thor’s timeline to be a little more familiar with what to expect from the movie, I went into this with almost no expectations. I came out believing that Thor may be one of the best films Marvel Studios has ever produced, right up there with the original Spider-Man.

Penned by J. Michael Straczynski (scribe of the incredible Superman: Earth One) and aptly directed by Kenneth Branagh (Harry Potter and the Chamber of Secrets), Thor is success on almost all levels; stellar character development performed by a top-flight cast, sweeping views of Asgard’s majesty fused with up-close, dirty takes on small-town Earth life, rousing action sequences and story that dares to be just a little original.

Newcomer Chris Hemsworth shines in the title role, displaying all ranges of emotion from arrogant warrior to fallen hero to reborn heir-to-the-throne, and Natalie Portman keeps up in her role as astrophysicist/love interest Jane Foster. She appears to be enjoying herself a lot more in this film than in the last two Star Wars movies. Sir Anthony Hopkins is, as always, brilliant in his portrayal of Odin; here is a king and god who is very much aware of his own shortcomings, especially when it comes to his two children. Every decision visibly weighs heavy on him. Idris Elba (Luther, Daddy’s Little Girls) is impeccable as the all-seeing Heimdall, and Colm Feore (Face/Off) was chilling, pun intended, as Laufey, King of the Frost Giants. The standout performance has to go to Tom Hiddleston, who played the god of mischief so well that he nearly steals the spotlight from Thor. This story is not just about Thor’s beginning’s; it’s about Loki’s as well, as he discovers his true origins and turns sibling rivalry into a very deadly battle with millions of lives on the line. What I liked most about Tom Hiddleston’s performance is that I couldn’t help but pity Loki and the little-brother syndrome, despite everything he does, in the end, he just wants to be loved and adored like his big brother. Tom Hiddleston brought plausibility and humanity to the role of Thor’s arch-nemesis, and in my opinion, is the best role in the film.

The soundtrack and scenery are epic; ranging from the glorious, beautiful city of Asgard to the dusty streets of middle America, this is a gorgeous film. This is also testament to the proper use of 3D, which may not have been necessary for this film to succeed, but its usage here is subtle and hardly noticeable, without inducing headaches. This is the best 3D film I’ve seen since Tron: Legacy.

We’re also treated to a cameo appearance of Clint Barton (future Avenger Hawkeye) well-played by Jeremy Renner (The Hurt Locker).

Overall, comic book fan or not, almost all moviegoers should enjoy this film. It has a compelling, well-executed story, beautiful scenery, a moving soundtrack, and a good sense of humor. Whosoever shall see this movie shan’t be disappointed, but thy fans eagerly awaiting the Avengers film hast more to look forward too.

PS: Want a second opinion? Hop over to Josiah Muskrat’s Facebook page and check out his review of Thor.

Thanks for reading.

(c) Avery K. Tingle for Akting Out LLC

Post Footer automatically generated by Add Post Footer Plugin for wordpress.

The ‘Fast’ Franchise Cashes In

Ten years after the first film’s release comes (what should be) the climax. This enjoyable, albeit predictable film serves more as a thank-you to longtime fans at the expense of those who’ve never seen any of the movies.
All of the major players from the last four films are accounted for, brought together for one last run. This film is heavy on character development and fan service, eschewing fast rides and blistering races. Whether or not you enjoy this movie may depend on your familiarity with the universe.

Fast Five picks up immediately following the conclusion of the fourth film, where O’Connor (Paul Walker) and company have managed to spring series antihero Dominic Toretto (Vin Diesel, who is all but typecast at this point in his career) in an exciting, yet completely implausible escape sequence.
In the time that’s passed, O’Connor and longtime girlfriend Mia Toretto (Jordana Brewster) have fallen on hard times, living as federal fugitives constantly on the run.
In the midst of an unexpected complication, the two turn to old friend Vince (Matt Schulze, the script overlooked no one) who hooks them up with a risky, but high-paying gig. Despite Dominic’s intervention on this job, things go wrong, and suddenly the group escalates to, as O’Connor puts it, “The top of the wanted list.”

With the walls closing in, Toretto plans one last job that will enable them to disappear. In order to pull it off, they need to pull in the best. And we’re off to the races. Pun intended.

Justin Lin has helmed the franchise since the dubious Tokyo Drift, and he doesn’t let up here. This film is an action flick through and through, tightly shot and expertly paced, while the action sequences themselves are frenetic, but not jarring. The result is a film that is very well put together.

Dwayne Johnson is a great, two-dimensional addition to the cast as Federal Agent Hobbs, who channels Tommy Lee Jones in his relentless, southern-spoken pursuit of Toretto. Johnson was introduced to threaten Toretto, whose ruthlessness and physical superiority has been a staple of his character. Watching Johnson and Diesel play off of each other, building to the inevitable showdown between the two, is one of the film’s highlights. The fight is worth the wait, but again, you may have to suspend your sense of belief for a bit.

Unfortunately, it looks like gorgeous rides and generous blasts of nitrous are no longer necessary at this point in the series. There is one flat-out race in the entire film, and even then, all participants drive the same car. If you’re movie to see rides shown off at top speed, you will be may be disappointed. The story is absolutely mediocre as well, even though it’s still a lot of fun. In the end, after all the planning and sophisticated trick driving, it comes down to…well, you’ll see. The climax is implausible but a blast to watch, more reminiscent of the Italian Job than The Fast and The Furious.

Fast Five’s selling points are also what works against it; the characters, the camaraderie, and the banter are enjoyable if you’re new to the series, but a lot of the inside jokes will be lost on you. Still, for an opening summer flick, this film is very much a lot of fun and worth eight bucks at the door, even more so for longtime fans. Old-schoolers and action-film fans will enjoy this, but newcomers may want to wait for Vudu.

(c) Avery K. Tingle for Akting Out LLC

Post Footer automatically generated by Add Post Footer Plugin for wordpress.

A Triumphant Return To Fighting Game Greatness

For those of who mimicked Scorpion’s infamous “GET OVER HERE” and felt slighted by Mortal Kombat 3, this one’s for us.

No more clumsy run button. No more “Heroic Fatalities”. No more saturated roster featuring palette-swapped versions of Scorpion and Sub-Zero. Netherealm studios resurrects one of gaming’s great franchises with a simple, yet robust control scheme, some of the best visuals ever presented in the genre, and enough blood, guts, and gore to turn even Hannibal Lecter’s stomach. In almost every way imaginable, Mortal Kombat is a success.

This is a deft reimagining of the story, blending the familiar with an edgier storyline. Old-school gamers may remember that the first Mortal Kombat game was actually the tenth in the game’s story; Shang Tsung had been victorious in the previous nine tournaments, thanks to Goro (and we all remember the four-armed, what-the-f*ck-is-that monster Goro). In this new story, Shao Kahn, lord of Outworld, has conquered Earthrealm, massacring everyone in the process. Defeated and broken, Rayden, the series’ god of thunder and protector of Earthrealm, sends a message to his past version of himself.

On the eve of Mortal Kombat’s ninth tournament, the younger Rayden receives this warning, along with visions of the future that will pass should Earthrealm’s warriors fail. Galvanized by these visions, Rayden hurriedly assembles Earthrealm’s warriors, along with anyone else who might stand against what’s coming, and leads them into Mortal Kombat.

Netherealm returned Mortal Kombat to its five-button roots (two punches, two kicks, and a block) and revamps the system from Deadly Alliance. Thankfully, you no longer have to switch stances repeatedly to execute certain moves; weapons are drawn automatically throughout the course of battle. While some characters have extra stances from which they can deliver more powerful strikes, they are no longer mandatory, functioning more like add-ins. Sequential button strikes are still the key to success. Interface is tight and responsive. New to the gameplay are a super meter, which allows players to execute Enhanced moves (think Street Fighter’s EX moves), Breakers (think Killer Instinct’s Combo Breaker) and X-Ray moves (think PAIN). Thankfully, all of these moves are simple to execute, usually requiring two button presses to get things going.

This may be one of the best-looking fighting games ever made. Netherealm demonstrates their mastery of Epic’s Unreal engine by presenting characters that register plausible emotional depth along with gut-wrenching broken bones and bloody mutilation. None of it is drastic, or jarring; when your character gets up a bloody mess because Scorpion just stepped on their chest, it’s believable. The X-Ray moves are the game’s visual standout, aside from the fatalities. As a jaded gamer who has lost track of how many foes I’ve digitally decapitated and dismembered over the years, I still winced every time one of these was executed. Cyrax’s is a good example; with the Powerbomb finisher, you actually see the spine contort and the jaw shatter.
The arenas are so well-executed that they’re almost distracting. One scene I couldn’t get enough of featured priests making a human sacrifice during the battle. Arena fatalities, such as our beloved pit, are back.

The fatalities are back, and they are awesome, there is no simpler way to put it. Thankfully, among the two million game modes Netherealm gave us is a fatality tutorial, which is great for practicing button inputs and distance. Plus, if you want to skip all of the action, this is for you. Kung Lao’s saw fatality is most certainly not for the faint of heart—and it never gets old.

Speaking of game modes, Netherealm has assured that you’ll be playing for months; aside from the traditional climb-the-ladder, the game comes complete with a variety of test-your-might modes, including a roulette-like Test Your Luck. The Story mode, while occasionally feeling hurried, raises the bar for storytelling in fighting games. An extensive quest involving every character in the game, this nine-hour mode provides in-depth looks at some of our favorite characters. You’ll see human versions of Cyrax and Sektor, and learn the truth behind the hatred between the doomed Scorpion and Sub-Zero.

Mortal Kombat is a vivid and stellar reimagining of a defining franchise. For those of us who had waited for its return to greatness, it’s worth the asking price. For those of us who enjoy fighting games and want to see what all the old-schoolers are talking about, it’s still worth the asking price. Here’s hoping Netherealm keeps things going, and we get a Mortal Kombat 2 in the same vein.

Note: This game is rated M by the ESRB. This may be one of the most violent video games ever made. Not recommended for children.

(c) Avery K. Tingle for Akting Out LLC

Post Footer automatically generated by Add Post Footer Plugin for wordpress.

The Child Assassin Misses The Mark By A Wide Margin

Hanna (Saoirse Ronan, The Lovely Bones) is not your average teenage girl. She can speak Spanish, Italian, German, and Arabic like a native. She can bring down a two-hundred and fifty-pound buck with near-pinpoint accuracy. She is a deadly close-quarters combatant with a diminished capacity for fear and a high tolerance for pain. Hanna has lived sequestered from the rest of the world, raised by her rogue CIA-agent father Erik Heller (Eric Bana, The Time Traveler’s Wife). But as children tend to do, Hanna desires to see and explore the outside world, despite the enormous danger the revelation of her existence would put her in. She convinces her father that she is ready for this by first disarming, and then reversing, a fatal situation in her sleep.
So, with a flip of a switch that places father and daughter back on the grid, the film begins.

And pretty much ends there, as well.
An excellent cast and veteran acting skills are not enough to save this cinematic hodgepodge.
All of the ingredients are here for a great film; the naïve, but deadly child assassin who wants to know who she is, and what her place is in a world she’s never known, the equally deadly but aging father who bravely accepts the inevitable by releasing his daughter into the wild, to the highly-ranked, cold blooded agent (aptly played by Cate Blanchett, in a far cry from The Lord Of The Rings) tracking them both, this movie should’ve been much better than it actually was. Joe Wright’s direction is disjointed and disorienting at times, meant to demonstrate the frenetic pace at which Hanna must take in her new situation, but actually jarring the viewer. The pacing is abhorrent, with long, sometimes unnecessary scenes of Hanna trying to fit in with an offbeat family. These scenes might have worked had the characters been fleshed out at all. Instead, the family is only used for about a third of the film, and then cut loose.

Chemical Brothers provide decent music that doesn’t match the film. It comes off as inspired by the Bourne franchise (as does much of the movie), but the electronic tempo moves faster than the jagged action sequences. Speaking of the action sequences, they’re nothing spectacular. Eric Bana looks physically in shape, but much more time should’ve been spent on executing the choreography. Saoirse Ronan moves quickly, fiercely, and fluently, with the training of someone who began studying only a year ago; just well enough to pull it off.

The ending is horribly predictable and insulting, the climax falling flat.

In good conscience, I can’t recommend spending money on this movie. It feels like several average ideas thrown in with a few great ones and then put on film. Instead of “Adapt Or Die”, the tagline should be changed to “See And Regret”.

(c) Avery K. Tingle for Akting Out LLC

Post Footer automatically generated by Add Post Footer Plugin for wordpress.

Still Fighting For the User After Thirty Years

I was impressed with the idea of Tron: Legacy from the first trailer, but tried to remain objective; it’s a trailer’s job to hype the movie. Sure, the Tron universe looked much more evolved—and ominous—than its predecessor. Sure, Jeff Bridges playing both pro and antagonist looked as good as felt. I could even believe that Garrett Hedlund (Death Sentence, Four Brothers) could be a geek. An adrenaline-addicted geek, sure, but considering his past outings, I initially had a hard time buying him as being able to use an ATM without shooting it, much less hack high security. Plus, I’ve yet to see a film in 3D that didn’t induce a need for Tylenol. So, after nearly three months of waiting for Tron: Legacy to hit the big screen, was it worth the wait?

The answer would be a resounding, emphatic yes. Tron: Legacy is one of those movies that manages to get almost everything right, even drawing those in who have no idea who Tron is.

Kevin Flynn (Jeff Bridges) has had a rough go of things in the last few decades. After the destruction of the MCP (consider yourself old-school nerd if you didn’t have to look that up) and his subsequent rise to the top of Encom, he managed to get married, have a son, and lift Encom to the top of the software world. Then, one night, after telling his young son Sam a bedtime story, Flynn leaves for work and never comes home.
Fast forward to the present day. Kevin Flynn (Garrett Hedlund) is an aimless, albeit brilliant young man who likes to cause trouble for his father’s company. After publicly embarrassing Encom (a scene in which the uncredited Cillian Murphy plays the son of the original Tron’s nemesis), Alan Bradley (Bruce Boxleitner reprising his original role as Tron’s programmer) visits Sam’s home. It seems his father sent Alan a page from the old arcade, the one that’s been shut down for nearly thirty years. Kevin goes investigating, and, well, you can figure out what happens from there.

Hats off must first go to the special effects team of this movie, which in my opinion top Avatar. The world comes together beautifully and seamlessly. Everything in the Tron universe feels like it should be there. This is also the first 3D film I’ve seen that didn’t cause headaches; the effect is very subtle, and instead of feeling like you’re on a roller coaster that may be coming apart, you’re not even aware of how much you’re drawn into this world until you leave the theater. Gone are the lightcyles of yesterday, which were limited to straight lines. The Grid features new cycles that reveal twin engines, light trails that can be toggled and bend, flowing over three dimensions. This is Tron as it was meant to be.

The story holds up well; father and son reuniting, trying to undo Kevin’s mistakes and get the both of them home. The father-don dynamic feels very Disney, asking the hard questions while granting a happy, albeit bittersweet ending with a morale to boot. Daft Punk provides an atmospheric soundtrack that compliments the film perfectly, and is beautiful in its own right. Fans of the two-person group, and the genre, will find this money well-spent.

If Tron: Legacy has a failing, it assumes that viewers will have seen the original film, have a passing handle on modern tech jargon, or both. I saw this movie with a friend who had never seen the original (although he thought “the chick in 3D was hot”, there, Robbe, I said it), who kept asking me what a user was. Then again, the film was good enough to convince him to go hunt down the original, so it’s not much of a gripe. The disc battles aren’t that memorable; the ones in the first film didn’t work as hard and were more fun to watch.

Bottom line; if you have kids who’re into video games or technology, or you yourself are, go see this movie. If you’ve seen the original, go see this movie. If you want to know what the big deal is, go see this movie. This is the best outing I’ve had in the theatres in a long time, and I can’t wait to see what they include in the DVD. Tron: Legacy is a win.

(c) Avery K. Tingle for Akting Out LLC

Post Footer automatically generated by Add Post Footer Plugin for wordpress.

So that person you’ve been interested in forever finally gave you the time of day. You took them out, spent time getting to know them, and enjoyed the company so much so that you saw them over and over again. Then, when it’s all said and done, and you’re so wound up that you can barely stand it, they push you away, look at you in all sincerity, and say; “I can’t do this now. But next time.”

If you can relate to this story, then you’ve seen “Harry Potter and the Deathly Hallows Part 1.”

That isn’t to say it’s a bad movie. It’s just that after sitting through all the films, practically growing up with this character, instead of getting the first half of an epic climax, we instead get a two-and-a-half hour trailer for the second film. In fact, some of the scenes they use in the trailer aren’t even in this film.

Although David Yates continues to demonstrate his expertise directing the Harry Potter movies, this movie feels disjointed at places. Long scenes of dialogue and tension are interspersed with such frenetic scenes that anyone with ADHD will feel right at home. It’s occasionally difficult to keep up with what’s going on, but overall, it comes together well.

It’s a long, long outing, too; I overheard one patron say “I felt like I just sat through a six hour movie.” I’m not a fan of this trend that calls for extensively long films, no matter how good they are. And honestly, as a fan of the series, I can’t say this movie was worth sitting three hours in a theater for.

I expect the final film to be epic; the first installment of Deathly Hallows was the pre-game before the Super Bowl. It’s what you’ll sit through for the main event. Hardcore fans will find something to love, but casual fans may find their money better spent elsewhere.

(c) Avery K. Tingle for Akting Out LLC

Post Footer automatically generated by Add Post Footer Plugin for wordpress.

You know what makes a Sly Stallone film great? It’s unpretentious. The films make no attempt to be anything but what they are; action piled on more action. It’s guys hitting each other until their jaws fall off or blowing up anything that has a foundation.

Luckily, in “The Expendables” you get both. And it’s a whole lot of effin’ fun.

The film centers around a group of elite mercenaries as they infiltrate, and retake, an overrun South American village. Star power is off the charts as Sly managed to wrangle every major action film star in the last two decades into this film. I wonder how long Van Damme waited for his call. Although it’s fairer to say that the film stars Sylvester Stallone and Jason Statham, only Dolph Lundgren’s role feels minimized; everyone else is well-utilized. Bruce Wills and Arnold Schwarzenegger are relegated to cameos, but their scene may be the best that doesn’t involve gunfire; veteran actors doing what they do best. Eric Roberts is the bad guy you love to hate, Terry Crews once again finds a way to be both very intimidating and funny as hell, and while Randy Couture can’t act to save his life, he gets points for trying.

The film’s action sequences are spectacular; the final thirty minutes of the film resounds in a kill-em-all sequence that may cause seizures in epileptics. And at sixty-two, Sylvester Stallone still looks like he can kick anyone’s ass (and certainly holds his own in the movie)

“The Expendables” is a thank-you card to action film fans of the eighties, nineties, and today. Well-received, the film is a lot of fun and worth the price of admission. Go see it.

(c) Avery K. Tingle for Akting Out LLC

Post Footer automatically generated by Add Post Footer Plugin for wordpress.

I know I’ve been horribly remiss about the reviews lately. I can say I’ve been really busy (and I have) but the truth is, I haven’t been allocated my time very well.

I also have a bit of a quirk; I don’t like to read the first four chapters of a story before writing a review, because something you dislike about the story or characters may change completely down the road. I like to read as much of it as I can so I can write a thorough review.

So, that being said, here’s the updated review schedule, and I’ll actually meet the deadlines on this one.

If you have a request, please let me know; I’ll add you to the list. Thanks for reading, enjoy the reviews and stories!

(c) Avery K. Tingle for Akting Out LLC

Post Footer automatically generated by Add Post Footer Plugin for wordpress.