Grabbed from the bottom of the discount comic bin, there are no surprises here. I read comics, and Watchmen or The Dark Knight Returns are rare pearls in an ocean of juvenile humour, vaguely racist stereotypes and tough-as-nails dudes with names like Roque, who don't take crap from anybody.
The Losers are a black ops organization cheated of their rightful place in the intelligence community by a comically evil Robert Patrick. An unlikely series of paramilitary exploits commences as these losers inexplicably access helicopters and many high-end gadgets while on the lam. A lot of things explode. They shoot bazookas. Twice there are jokes worth laughing at. There are over 10,000 jokes in all, so this is not an impressive ratio. At one point the line: "Payback's a bitch" is delivered with no sense of camp. I can hear them pitching this, "It's like Lethal Weapon on steroids and acid; it's a high octane thrill ride!"
Filmmaker Sylvain White shamelessly strives to invoke a Tarantino vibe, right down to a slow-motion strut nearly cut and pasted from Reservoir Dogs. It's a delightful come-uppance that the innovative Kick-Ass was released a week earlier, which actually earned Tarantino comparisons for bold ideas and genuine storytelling prowess rather than a script that could have been labelled Stylized Rehashing of Conventions Volume 86.
However, from the cries of jubilation coming from the audience at the public screening, one can only assume the end is nigh.
(Warner)The Losers are a black ops organization cheated of their rightful place in the intelligence community by a comically evil Robert Patrick. An unlikely series of paramilitary exploits commences as these losers inexplicably access helicopters and many high-end gadgets while on the lam. A lot of things explode. They shoot bazookas. Twice there are jokes worth laughing at. There are over 10,000 jokes in all, so this is not an impressive ratio. At one point the line: "Payback's a bitch" is delivered with no sense of camp. I can hear them pitching this, "It's like Lethal Weapon on steroids and acid; it's a high octane thrill ride!"
Filmmaker Sylvain White shamelessly strives to invoke a Tarantino vibe, right down to a slow-motion strut nearly cut and pasted from Reservoir Dogs. It's a delightful come-uppance that the innovative Kick-Ass was released a week earlier, which actually earned Tarantino comparisons for bold ideas and genuine storytelling prowess rather than a script that could have been labelled Stylized Rehashing of Conventions Volume 86.
However, from the cries of jubilation coming from the audience at the public screening, one can only assume the end is nigh.