NEW RELEASE FILM REVIEW || Director Dean Parisot | Writers Jon Hoeber and Erich Hoeber | Cinematographer Enrique Chediak | Starring Bruce Willis, Mary-Louise Parker, John Malkovich, Helen Mirren, Anthony Hopkins | Length 116 minutes | Seen at Cineworld Wood Green, London, Sunday 4 August 2013 || My Rating likeable
Of all the comic book-based franchises that this past decade has wrought, RED (2010) neither seemed to demand nor require a sequel. It was a pleasant, light-hearted confection about former government ‘black ops’ assassins just trying to retire in peace (its capitalised title being short for “Retired, Extremely Dangerous”). Plenty of the original cast have returned for this second outing, and admirably it manages to retain much of the same breezy charm for what is essentially an entirely unnecessary film.
At its heart is the relationship between retired killer Frank (Bruce Willis) and ordinary office worker Sarah (Mary-Louise Parker). In fact, I’d go so far as to say that all the action and espionage thriller hokum that give the film its narrative structure are just distractions from what is basically a romantic comedy: Frank is having trouble allowing Sarah autonomy within their relationship, and his friends from the first film, Marvin (John Malkovich) and Victoria (Helen Mirren), offer him counsel — generally while despatching Russian agents or kidnapping Iranian diplomats. It’s these little domestic moments, lit up by Parker’s agile facial expressions, that really make the film.
For quite patently the plot is overextended Cold War-era nonsense involving a secret nuclear device in Moscow created by Anthony Hopkins’ apparently mad scientist, who has since been imprisoned in London. This bomb is being chased down by Catherina Zeta-Jones as a Russian secret agent (double agent?), Victoria has been employed to go after Frank, while Lee Byung-Hun as a Korean contract killer is gunning for pretty much everyone.
Given all this, it’s just as well all the actors seem to be having fun, and it makes some of the longueurs (of which there are several) pass more easily to watch Malkovich, Willis and Parker work together. Like any good ensemble comedy, there’s a generosity towards the guest appearances, and no single actor is allowed to steal any scenes, though Parker comes closest. Mirren meanwhile gets to take charge as a competently lethal professional — with a brief comic detour into play-acting as Queen Elizabeth (though the first one here, mercifully) — and Malkovich pops up in a procession of ridiculous hats and costumes.
The film is too long and the plot too labyrinthine, but there is chemistry between Willis and Parker and, more importantly, there’s an underlying comic frisson. If the jokes aren’t quite as sustained as the first film, it doesn’t make this film any less likeable in an easygoing way. As long as you don’t go in expecting much, you should be able to glean a couple of hours of enjoyment from RED 2.