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The Top 10 Manliest Man Moments #8: Han Solo, Army Of One


Yesterday we covered what I would argue was Arnold Schwarzenegger’s MANLIEST MAN moment in cinema history.

Said moment involved exclamation of the word “bullshit,” followed by the Austrian death machine hurling a steam pipe through an Australian girlie man’s torso.

Just in case you needed a visual aid...

That was MANLY MAN moment #9.

Now I ask you, just what the fuck kind of Top 10 MANLY MAN moments would place something as epic as the finale of Commando at #9?

A really MANLY fuckin’ list, that’s what!

While the next MANLIEST moment may be somewhat lacking in epic savagery when compared to it’s predecessors; it more than makes up for it in epic ballsy-ness and courage.

In that sense, our 8th MANLIEST MAN moment happens to be that one time in A New Hope when the apex of pimp himself, Han Solo, literally went solo and randomly bum rushed the fuck out of a battalion of Stormtroopers:

(Apologies for the very much unwarranted Chariots of Fire, it was the best I could find.)

You see, while Arnold utterly dominates the MANLY realm of badassery and epic savagery, Harrison Ford’s Han Solo represents a different school of MANLINESS.

Sure, Harrison Ford can’t throw a decent punch to save his life, but that’s why it’s called “acting.”

Han Solo’s what you’d call a “loveable asshole.”

Pictured: An asshole minus the "loveable" part.

He’s a silver-tongued pistolero that wears his ego on his sleeve and tries his damndest to put his foot in the cooch whenever the opportunity presents itself.

While any other character would just seem like a epic frat boy douche-rocket in behaving like this, perhaps Han Solo’s greatest strength as a character is that, while he’s certainly one scruffy looking scoundrel; there’s an inherently heroic and admirable person visible beneath all of it.

I suppose it’s also pretty awesome that his MANLINESS gives him the power to SHUT PEOPLE THE FUCK UP just by raising a finger:

Translation: "You shut your fucking mouth, son."

MANLY powers aside, the one thing that always put Han Solo over the top in my book of MANLINESS, was his ability to improvise and succeed on gut instinct alone.

When faced with the threat of having his ship blasted to pieces by a surprise attack from incoming TIE fighters, ‘ole Han just kind of shrugs his shoulders and says:

When forced to impersonate a Stormtrooper over an intercom in a desperate attempt to salvage his and the other Rebel’s infiltration into the Death Star, Han doesn’t just manage the task; he even takes the time to casually throw in a courteous “We’re fine, how are you?”:

That’s just how Han Solo rolls.

Off the cuff or from the hip, he rolls with the punches and always seems to come out on top.

Which brings us to the MANLIEST moment in his career, and the 8th MANLIEST moment in all of movies.

Not long after the above sequence wherein Han, Chewie and Luke utterly beast the shit out of the security staff of detention block AA 23, the 3 of them rescue Princess Leia and flee into the sewer duct.

After much hilarity and drama involving a nasty dianoga getting frisky with Luke,

Watch in horror as the dianoga claims it's next love sponge...

as well as the walls of the chamber being set to “compact,” the 4 heroes escape into the main corridors of the Death Star.

Unfortunately, the section of the space station that they happen to escape to just happens to be crawling with Stormtroopers.

While most men would turn tail and run in the face of overwhelming odds like this, Han Solo immediately caps one of the troops square in the chest and then proceeds to CHASE AFTER the remaining half dozen or so HEAVILY ARMED soldiers!

If that wasn’t badass enough, ‘ole Han doesn’t just run the sons a bitches down; he charges after them screaming at the top of his lungs like some crazy-ass William Wallace motherfucker.

It may take some serious balls to single-handedly face down a whole squad of armed soldiers, but it takes giant-ass titanium gonads of MANLINESS to fuckin’ rout them and then successfully chase their asses down.

Unfortunately, as is often the case for people who aren’t Arnold Schwarzenegger, the MANLIEST course of action proves to be far from the wisest for Han Solo.

After chasing the Stormtroopers for some time, wailing like a fuckin’ Jewish banshee all the while; Han turns a corner to reveal horrifying sight:

Note: This is one of the few scenes Special Edition actually made MANLIER.

Unfazed by the pants shitting-ly terrifying white and black wall of blaster toting death before him, Han attempts to overwhelm the Stormtroopers with the power of his MANLIEST of MANLY faces:

Despite the awesome power of Han’s MAN-FACE, the Stormtrooper’s collective morale holds fast, allowing them to miraculously power through it’s demoralizing/penis shrinking effects.

Immediately sensing that his gambit has failed, the ever resourceful Han Solo quickly falls back on his go-to plan “B”, that of shooting first and aiming/asking questions later:

Han Solo: Shoots So Well His Lasers Explode From The Inside Out.

With yet another Stormtrooper felled, Han makes the wise choice not to get greedy with his kill-streak, instead choosing to fall back and regroup with his compatriots.

Narrowly escaping from a hail of laser fire, Han Solo meets up with Chewie around the corner, and the 2 escape to the annals of MANLY sci-fi/action movie history.

Thanks for reading MANLY MAN moment #8, check back for #7 tomorrow!

Happy Easter everyone!

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The Top 10 Manliest Man Moments #9: “BULLLLLL-SHIT!”


Alright boys and girls, we’re back with more of the Top 10 Manliest Man Moments in movies!

This time around we’re tackling MANLY moment #9, a MANLY moment that belongs to none other than quite possibly the MANLIEST of all action heroes; Arnold Schwarzenegger.

As any self respecting MAN is aware, MANLY moments are very much the norm in any Arnie movie.

Seriously man, given the chance, Arnold could find a way to make just about anything the fuckin’ MANLIEST shit ever.

Jesus fuck, he even makes chugging a beer look fuckin' awesome...

He was just that fuckin’ MANLY.

During the course of his acting career the man has killed Darth Vader:

Done battle with (and killed the ever-loving fuck out of) intergalactic game hunters:

"Hey, you're that guy from Night Court!"

And even managed to get away with calling THE FUCKING DEVIL a goddamn choir boy:

To say Arnold’s done some pretty MANLY-ASS things over the years would be an understatement akin to saying Steven Seagal’s flipped a lot of fools on their heads.

In other words, it’d be a BIG fuckin’ understatement.

Which begs the question, just what is the MANLIEST moment of Arnold’s illustrious film career?

Well, that’d have to the be when he summoned his MAN-STRENGTH to call “bullshit” on, well, pretty much everything; and then inexplicably whooped the shit out of a curiously overweight Australian at the end of Commando:

Let me go on record by saying that, while it’s far from the best movie in Arnold’s filmography; Commando has probably the highest MAN QUOTIENT of any of his movies.

Commando truly is a “dumb” movie in the sense that it’s plot, dialogue, and overall production values are kind of ratty; however most of this is played to it’s advantage in the form of copious amounts of “violent but not offensive violence,” and an insane number of Arnold-isms throughout.

In short, it’s a big dumb action movie that thrives on being big and dumb.

Which brings me to MANLY moment #9 on our list.

At the end of Commando, Arnold’s John Matrix faces off against a former “colleague” (read: killing buddy) of his named Bennett, who just happens to be holding Arnold’s daughter AKA Alyssa Milano, hostage.

She looks like fuckin' Chucky with those overalls...

While totally bat-shit crazy, and holding a penchant for knives; I’ve gotta’ say, Bennett is just about the least threatening villain I can recall in a Schwarzenegger flick.

I suppose it doesn’t help that half the time the guy looks like he’d sooner jump Arnie’s bones rather than kill him:

Pictured: Bennett's "O" face.

Seriously man, while taller than Arnold, the guy is obviously somewhat out of shape and doesn’t look at all to be a match for Arnold’s Herculean John Matrix.

To make matters worse, the poor guy is obviously kind of sensitive about his weight, as he wears some sort of goofy-ass chainmail getup to try and conceal his love handles.

Think fat kid wearing his shirt to the pool:

Pictured: Bennett, in his formative years.

Top things off with the fact that he looks like a fat Freddie Mercury, and you’ve got yourself one very sad-ass final boss.

Despite all this, thankfully Bennett gives himself a fighting chance by capping Johnny Matrix in his right shoulder just before the final battle.

Sadly, that would prove to be just about the only good move ‘ole Bennett makes in the whole fight.

Using his MANLY powers of psychology, Matrix manages to convince Bennett to let go of Alyssa Milano so that they may knife fight to the death like the MANLY MEN they are.

The fight appears to reach an equilibrium of sorts, as both men receive minor cuts; however one could argue that Bennett pulls ahead at this juncture by attempting the use of scornful finger wagging and black magic:

Despite this, using the MANLY STRENGTH of his willpower, Johnny Matrix manages to power through the effects of Bennett’s evil spell and push the big Aussie off the fuckin’ catwalk.

Unfortunately however, his MAN STRENGTH proves to be too great, thereby causing him fall off alongside Bennett:

After their fall, the knives are discarded; and things really start to heat up.

In classic villain fashion, Bennett makes use of a conveniently placed pipe to try and press an advantage over Matrix.

Courageously/dumbly fighting unarmed and without the use of his right arm, Arnold manages to stay in the fight, landing pot shots when able, and generally doing well to counter most of Bennett big swings.

Hell, one-armed or not, Arnie even manages to ape Steven Seagal by busting out an awkward hip toss of sorts:

Despite the awesomeness of that maneuver however, it would seem it wasn’t all that damaging; as Bennett manages to bounce back almost immediately.

Utilizing a nearby furnace door, Bennett whacks Matrix in the nose by opening it ala Tom and Jerry then proceeds to tear it off it’s hinges and chuck it at our hero.

Despite missing by a fuckin’ country mile, this maneuver allows Bennett the time to pick up another pipe from the floor, with which he proceeds to go to town on Matrix’s stomach and flanks.

Did I mention that during all of this, Bennett still looks like he want to mount Matrix something fierce?:

Pictured: Bennett's "O" face Mk. II

I’m not gonna’ lie, Arnold takes a helluva’ beating during this sequence.

After sustaining an absurd number of pipe shots to the torso, Arnold manages to land a desperation kick to… somewhere on Bennett’s person, thereby freeing our hero and allowing him to stand up once again.

I call the kick an act of “desperation” not just because of the nasty circumstances during which it was employed, but because kicking is just something Arnold doesn’t do.

The man is shaped like a fuckin’ upside down PYRAMID OF POWER, kicking is not one of his strong suits.

Van-Damme he is not.

Anyway, from there the fight devolves into one of those awkward struggling/wrestling matches that suck all the momentum out of fight sequences.

Long story short, Bennett opened the furnace earlier, both guys almost get put into said furnace; and much grunting and sweating ensues, likely to Bennett’s pleasure.

Jesus fuck, man! How many times is he gonna' do that!?

Likely growing weary of being in such close proximity to a dark magician/child molester like Bennett, Matrix creates some distance with a strategically placed headbutt followed by a left hook to the jaw.

While Johnny Matrix indeed succeeds in gaining some breathing room with this maneuver, unfortunately he makes the mistake of knocking Bennett into the power grid, shooting thousands of volts through the big Aussie’s chainmailed form:

"You fool! Electricity gives him power!"

Now, ordinarily this would put a motherfucker to sleep like no other, but not ‘ole Bennett.

You see Bennett, like King Kong in King Kong vs. Godzilla, actually gains strength from electrocution.

Unfortunately, Matrix clearly was not aware of this fact, and is thusly caught completely off guard by the immediate and hellacious counter-attack that follows.

Totally helpless, Matrix takes blow after blow, not the least of which being the dreaded “double axe-handle to the man boob”:

Following this, Bennett declares himself to be “feeling good,” thereby solidifying his dominance at this late stage in the fight.

Pummeling away at Matrix’s back with fists and elbows, Bennett continues to pour on the verbal abuse to John’s MANHOOD.

“Your’e a dead man John!”

With those words, whatever weakness may have remained in John Matrix’s soul burned away to cinders, leaving only MANLY MAN-NESS in their wake.

With those words, John Matrix summoned the mightiest of MANLY words from deep within himself, channeling the MANLIEST of MAN spirits in the process:

The rest is, as they say, history; as John Matrix spins around and proceeds to whoop the everloving-fuck out of Bennett.

Using only ONE HAND Matrix unleashes a 13-hit Ultra Combo of hooks and backhands that sends Bennett reeling.

Lacking the strength to employ any more magic spells or electrical attacks, Bennett; in a final act of villainous cowardice, draws a micro uzi and makes a move to blast Matrix’s nuts off.

Improvising in a manner that could only be referred to as MANLY-AS-FUCK, Matrix then promptly rips a steam pipe off the wall and throws it into Bennett’s rotund form:

If that’s not the 9th MANLIEST moment ever, I don’t know what is.

Check back tomorrow for MANLY moment #8!

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The Expendables Review

*SPOILER ALERT!* ZERO spoilers ahead in regards to plot details/major events, but most of the match-ups in the fight scenes are revealed below.

If you don’t wanna’ know who’s gonna’ be fighting who, stop reading NOW. *SPOILER ALERT!*

Let it be known, The Expendables is just about the most meat-head centric films I’ve ever seen.

Rest assured, The Expendables is all about suped-up cars, guns, tattoos, armbars, stupid one-liners, and one very gratuitous T&A shot.

Meat-heads of the world unite, the film that shall be your gospel has arrived.

ALL SHALL BOW BEFORE BROCK CHRIST!!!!

Despite my general disdain for the UFC crowd and their, how shall we say, “sensibilities;” I came away from The Expendables feeling pretty good about the whole experience.

The Expendables is, of course; a product of the master of facial paralysis himself, Sylvester Stallone.

Best caricature, EVER.

From what I remember, Stallone pounded out a script for The Expendables almost immediately after his previous film, Rambo; was proven to be a financial success.

The premise of the film is that of the “men on a mission” sub-genre of yore.

Think, The Dirty Dozen, or The Wild Bunch, or if you’re a total pussy; Ocean’s 11 (with guns).

Let me just say, The Wild Bunch is one of the best films I've ever seen.

Basically, the plot boils down to a group of heartless mercenaries being sent on a suicide mission to liberate a fictional South American nation, only to discover, through the beauty and courage of a lady freedom fighter; that they do in fact give a shit about something in this world besides money.

"You not EXPENDABLE Rambo!"

While this describes the plot for just about every film in the genre, the one major difference between Stallone’s version and the rest is, of course; the fact that the “heartless mercenaries” in his version, are all played by noteworthy “faces” of action cinema, past and present.

In case you’ve been living under a rock for some time, Jason Statham, Jet Li, Dolph Lundgren, Mickey Rourke, Terry Crews, and (unfortunately) Randy Couture all star alongside Sylvester Stallone to make up The Expendables.

"You got your peanut butter in my chocolate! Oh wait, this is a good thing..."

Not only that, but Eric Roberts, “Stone Cold” Steve Austin, and even former opponent of Jackie Chan, Gary Daniels; serve to round out the film’s cast of formidable villains.

That's right, THAT Gary Daniels...

Oh yeah, and Bruce Willis, Arnold Schwarzenegger, and the twin MMA Nogueira brothers, Antonio Rodrigo and Antonio Rogerio, all make single scene cameos.

On paper, this would make The Expendables just about the greatest action film ever conceived, right?


Just take a look at Stallone’s own Tango and Cash.

If only it had been a live-action adaptation of Lucky and Wild... Look it up, it's a sweet ass arcade game.

Sure, that movie had Stallone, and Kurt Russell AND Jack Palance to boot, but that doesn’t mean it was even remotely good.

No, The Expendables is not the greatest action movie ever, nor will it remembered alongside any of the true greats of the genre, but that doesn’t make it a bad movie.

On the contrary, I felt it was quite good for what it was.

While the script is utter crap, with most of the one-liners coming across as strained and almost painfully weak, like any good action movie the script is secondary to the action.


Thankfully much of the dialogue in the film is brief, although sometimes the “man speak” quotient can seem a bit overwhelming at times.

Seriously, everyone in the cast of this film make this guy seem straight-up femme:

Anyway, we’ve established that The Expendables, a dumb action movie; has a shitty plot and script.

It’s probably about time I got to talking about something we didn’t know, right?

Let’s talk about how The Expendables fared on the action front.

The action in The Expendables is quite good by modern standards.

It’s violent, chaotic, and often over-the-top, and after the awesomeness that was Rambo just 2 years ago, it’s just about everything I was hoping for in an American action film.

The gunplay is especially over-the-top, with terrific sound editing, and a wonderful sense of “oomph” that is rare among action films.

Trust me, from the first time someone is shot in this film, you know just what kind of movie you’ve gotten yourself into.

Kind of like saying, "From the moment Swayze layed down on the floor and stared longingly at Jennifer Grey, you KNEW what kind of movie you'd gotten yourself into."

Oh yeah, despite it being less brutal and gory than Rambo, the violence level is right up there in Steven Seagal territory in terms of blood-letting.

It should be noted however, that virtually all of the bullet hits are done, not with squibs, but through digital effects.

While this saddened me to some extent, as I figured that if anyone was going to do things “old-school,” it would be Stallone, admittedly it doesn’t do much to effect ones’ overall enjoyment of the film.

Yup, that's violent!

The cinematography in The Expendables is vaguely Greengrass/Bourne-esque throughout i.e. lots of intentional camera jitter, rapid-fire edits, and shakily framed shots, though personally I didn’t have a problem with this.

Bear in mind, I’ve been watching dumb action flicks from the cradle and on, so MTV style editing, and, well, MTV style camera work are nothing new to me.

I think a lot of my non-issue with the cinematography in The Expendables, stems from the fact that I’ve not just been watching action movies my whole life, but boxing, and kung fu movies.

My eyes are trained son, ain’t no tricks out there my eyes can’t see…

It's in the middle, dumbass...

I will say this though, the cinematography in all of the vehicle-based action sequences in The Expendables, is fucking atrocious, and downright frustrating to follow.

Outside of that though, my eyes are trained son…

While I hate to make such a big deal about this one point, I encountered several reviews, including one by a vlogger I happen to trust and admire, Noah Antwiler AKA Spoony, that took offense to the cinematography in this film, so I figure this particular argument deserves some special attention.

Google "special attention," and this is what you get: Red Panda cuteness...

The Expendables is a typical American military action flick.

While there are in fact a handful of protracted brawls between major players in the cast, (which we will get to in a minute) the vast majority of the action in the film is choreographed in such a way that death is dealt swiftly and often.

That is to say, there is not a whole lot of depth or drama to the choreography of the action, both armed and unarmed in The Expendables.

In fact, most of the shots of violence in the film are arranged in such a way that we really aren’t shown a whole of the detail in the various battles that are taking place, but rather just the deathblows in each engagement/exchange.

A movie where every hit is a fatality? Works for me...

Think of it as taking a highlight reel approach to editing a number of fight/action scenes together as opposed to putting a premium on drama or continuity.

The Expendables is a film that often has several skirmishes happening parallel to one another, a fact that necessitates overlap between most of the action in terms of editing, resulting in a film that simply cannot stop to do the proper dramatic justice to any one of said action set-pieces.

While I generally disapprove of editing multiple action scenes together, (see Cradle 2 the Grave and virtually every Michael Bay film ever made) I found the last 30 minutes of The Expendables to be a fine example of how to implement said technique effectively.

Yes, these 2 things go together like Jet Li and DMX. Oh wait...

This leads to most of the fights/gunfights seeming fragmented, and somewhat lacking in coherence, given that much of the cast in this film is past their physical prime, do you really think you’d want to see what these guys looked like without the help of the guy in the editing room?

Speaking of which, let’s take a moment to talk about the fighting element of The Expendables.

The Expendables had a number fight scenes in it, most notably Dolph Lundgren vs. Jet Li, Jason Statham and Jet Li vs. Gary Daniels, Stone Cold vs. Sylvester Stallone, and finally, Stone Cold vs. Randy Couture.

In order, here are my thoughts:

Dolph looked surprisingly spry despite his age.

Sure, the fight was edited to shit, and the framing was frustratingly “off” at times, but the sheer novelty of seeing fuckin’ Ivan Drago go toe-to-toe with Jet Li was enough to keep me engaged.

Dolph employed a fairly linear boxing/kickboxing fighting style of sorts, with most of his punches coming in at straight angles, and more importantly, in bunches.

While the drama of the fight is virtually non-existent, largely due to a few (intentionally) giggle-inducing beats, the scene was good for what it was:

A novelty.

That being said, Jet Li’s performance in the film is rather odd.

Oh wait, this wasn't "odd," this was just "shitty."

His character is legitimately funny throughout, and his physical presence is impressive, but sadly limited.

While industry great, Corey Yuen, is credited as a choreographer for Li’s scenes, sadly the pair isn’t given much screen time to deal with.

Despite this, Jet Li’s performance possesses the grace and flexibility he is known and loved for, though the rapid-edits have the side-effect of obscuring his speed.

Jason Statham’s performance was largely similar to that of Jet Li’s, in that he looked good, but with the “A to C” as opposed to “A, B, C” style of editing, we really couldn’t tell just how good he was.

Oh yes, he's good... NOT GAY.

Having worked with Corey Yuen before, in The Transporter; it’s no surprise that Statham’s movements and execution are pretty much spot on for the demands of his character.

Speaking of “execution,” his character, who displays a penchant for knives in his fighting style, allows Statham ample opportunity to wow with his close-quarters knife work.

Seriously, I haven’t been happy with any of Jason Statham’s performances, physical or otherwise, since the first Transporter movie, but his work in The Expendables, particularly when armed with knives, was downright impressive.

That’s a pretty big fuckin’ compliment coming from me.

ME.

Anyway, Jet Li and Jason Statham’s tandem battle with Gary Daniels was legitimately impressive in a brutal sort of way.

Bear in mind, at this point in the film, (which was easily the highlight of the whole thing for me) Stone Cold vs. Stallone, Gary Daniels vs. The Dudes from The One and War, and Randy Couture hiding behind a bunch of sandbags, are all happening simultaneously.

While it makes me sad to see a talent like Gary Daniels as criminally under-used as he was in The Expendables, I have to admit it was pretty neat to see him be on the receiving end of a martial arts double-team in a military action flick.

The reason I keep emphasizing the word military, is because it implies severity, life and death stakes.

When people fist fight in this movie, it’s not for honor, or glory, it’s simply to make the man standing before them stop breathing and get out of their way.

That being said, Gary Daniels fares about as well as any human would when faced with the prospect of taking on 2 men at once.

That is, unless you’re the Undertaker…

The fight is not so much a fight, as it is brutal beatdown, but like every Steven Seagal fight in existence has taught us, sometimes that’s a good thing.

Moving on, Stone Cold vs. Stallone was probably one of the most glorious “big man” fights I can recall in film history.

Think Matrix vs. Bennett in Commando, or Rowdy Roddy Piper vs. Keith David in They Live, or failing that, Zangief vs. E. Honda in the live-action Street Fighter.

*GASP!* "You remember that!?"

With Stallone being over 60, and Stone Cold turning out truly horrendous fighting performances in The Condemned and Damage, I was expecting a sluggish bar room brawl of sorts, but color me surprised when this unbelievable masterpiece of beefy old-guy fighting cinema came rolling around the corner.

The choreography is sharp, with the punches being swung fiercely and often, and Stallone routinely busting out impressive takedowns, and, in particular; one hell of an agile flying armbar.

Yes, one of these.

In fact, my only gripe with this whole fight, is that, again; most of the drama is lost due to the highlight reel style editing.

More specifically, while Stallone’s takedowns and submission holds are impressive to behold in execution, unfortunately there really is no “why” in regards to his implementation of them.

In Flashpoint, Donnie Yen’s grappling and holds had a purpose in the choreography in that they smothered Collin Chou’s superior offense, and thusly turned the fight in his favor.

This man wouldn't do something simply for the sake of flash. No way...

Stallone’s grappling in The Expendables, is the equivalent to watching Jean-Claude Van Damme do a series of his famed slow-motion aerial kicks.

There’s really no practicality to it in the context of the fight, it’s just flash for the sake of flash.

Or in this case, Butt for the sake of Butt...

While it’s a minor gripe, seeing as this has already spiraled into a much more technical and in-depth review than I was initially expecting, I figured I should bring it up.

In one scene, Stallone managed to defy Father Time, and Stone Cold made a believer out of me in regards to his career as an action movie guy.

Which brings us to the last major sequence of manly fisticuffs in The Expendables, MMA legend Randy Couture vs. modern WWF legend, “Stone Cold” Steve Austin.

I’ll just say this:

This fight was made for UFC and wrestling fanboys, and no one else.

First search for "UFC fan," and I got just what I wanted. Thanks internet.

After the terrific spectacle that was, well, pretty much every other fight in this movie, it brought a tear to my eye to see the final brawl in the movie be such a let down.

Randy Couture should not be in movies.

More specifically, Randy Couture should not be in this movie.

Seriously, I’m not even hating on the UFC stuff right now.

I'm not. I swear...

Randy Couture, and more importantly, Randy Couture’s character, could have, and should have been excised from the script, as neither has much of anything to offer.

Regardless, Randy Couture, though a nice guy, and a terrific athlete, is a truly terrible actor, and barely adequate screen-fighter.

Throughout the movie we bear witness to Couture body-slamming and, well, fiercely body-slamming bad guys, sometimes with a mean expression on his face, usually without.

Pictured: Randy Couture's "mean face."

To say that the choreography given to Couture in this movie is limited is like saying Hulk Hogan’s repertoire of wrestling moves was limited.

It’s an indisputable fact.

That was 1 of 3 moves Hulk Hogan possessed over the years.

Personally, I preferred seeing Couture body-slamming people as opposed to, well, just about anything else he did in the movie.

Especially speaking.

Anyway, I don’t want to go into the details of Couture vs. Stone Cold, but I will say this:

It’s not half as good as Stallone’s fight, and Randy Couture is as stiff as mother fuckin’ Frankenstein.

And I'm not talkin' the Bobby D Frankenstein either...

Alright, well I’m officially spent.

I’ve honestly got more to say, but I’m starting to fade, so I think I’m gonna’ try to call it quits for tonight.

The Expendables was a good time, if mayhem, testosterone and explosions are what you’re looking for.

It’s not a classic in the making, but it’s definitely fun for what it is.

The script is ass, though Mickey Rourke manages to carve a soul into the film with one gut-wrenching scene of apparently improv-ed ACTING.

The gunplay is tops, with comparisons to Stallone’s own Rambo in terms of entertainment value,”oh shit” factor, and spillage of bodily fluids of the sanguine (look it up, dumbass) variety, being entirely warranted.

The fighting is difficult to follow for some, (not me) but surprisingly rewarding despite the relatively advanced ages of the majority of the performers.

In all, I had fun with The Expendables, and I’m pretty sure that was the point.

Have fun with The Expendables, ’cause if you can’t, then chances are you’re just being a dick and need to lighten up.

End Transmission

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