R.E.D. 2 Review

The sequel to 2010's average flick R.E.D. boasts an exciting ensemble, but that's been the downfall of many a movie. Can it surpass expectations?
Trepidation. That's the single term which can be used to summarise this reviewer's emotions and expectations upon being presented the opportunity to see R.E.D. 2 this week. Although the original big-screen adaptation of the DC Comics' R.E.D. franchise had its merits, as an overall piece of cinema it left something to be desired, earning a 3* score here at the blog in 2010. Three years on, and it's safe to say that- thankfully- lessons have been learnt, the experience of the sequel refined to a far more compelling one in spite of its imperfections.

In this case, the premise of the follow-up's narrative is simple and borderline indistinguishable from that of its predecessor- Frank Moses (Bruce Willis) finds himself yanked out of retirement in order to become embroiled in an international mission of espionage by his crazed pal Marvin (John Malkovich) with the primary goal of lifting a price on his head. The vast majority of viewers will doubtless have witnessed similar set-ups in other action thrillers long before this, so it's a delight to discover here that there's an intelligent and layered plot full of surprises and intense laughs waiting to be unravelled. Often it can seem so rare for such terms to accompany a review of a seemingly predictable entry in the action thriller genre such as this, which makes it all the more a pleasant surprise for this reviewer to be able to do so.

Admittedly, just as R.E.D. 2's storyline inhibits a sense of slight deja vu thanks to its similarities to the 2010 original, so too does lead Willis appear to simply lend his character a paint-by-numbers-esque performance, recycling tropes of his previous characters found in Die Hard and The Expendables rather than providing us with an innovative portrayal here. On the other hand, though, the rest of the cast are on stunning form, Catherine Zeta-Jones' ex-flame Katya and particularly Anthony Hopkins' eccentric antagonist Edward Bailey proving fine additions to an already sturdy ensemble. Returnees Malkovich, Helen Mirren and Mary-Louise Parker each have equal successful moments in the spotlight too, even if Mirren remains an underused asset in the franchise.

Where this late entry in the Summer of Film 2013 fails to impress somewhat is in the midst of its incredibly understated climax. Practically every one of the outlandish setpieces featured throughout the slightly extensive 116 minute running time trumps those which came before it, naturally leading the viewer to expect a similarly audacious heist to cap off the movie. What transpires, though, is nothing of the sort, with an anti-climactic and over-indulgent confrontation putting an end to proceedings in an utterly rudimentary manner. Certainly, such a low-key resolution to a screenplay whose writers are so intent on raising the stakes at every corner comes as an unexpected twist, and it doesn't help matters that the literal 'twist' that triggers the ultimate resolution will be seen from a mile off by any self-respecting fans of the genre. Clearly when drafting the final moments of the film, scribes Jon and Erich Hoeber thought their work more intelligent than it will be perceived in reality.

The heart of the matter is this, though- while viewers heading into an auditorium expecting R.E.D. 2 to trump its predecessor by a country mile may be disappointed, there's still a fair margin in the leap of quality this franchise has taken over the past three years. Surprisingly, the loss of Morgan Freeman from the central cast hasn't proved detrimental to any major extent, and in fact has paved the way for a stellar introduction for new stars like Zeta-Jones and Hopkins to enter the mix. Thanks to an underwhelming conclusion, R.E.D. 2 won't win any Oscars for narrative innovation, but at the very least it'll potentially restore a viewer's faith in the action thriller genre, in itself a rare feat. You may enter with trepidation, but rest assured that upon exiting the auditorium, hilarity-fuelled exhilaration will be the overriding emotion that's taken away from the experience.
3.5/5