Decent war flick, though I did keep wondering if Zus was in fact the milkman's child (does that explain the tension between him and his blonde brethren?).
Also I would have liked the whole thing to have been in, well, whatever mix of languages they would have been likely to speak to each other at that time. Especially since bits *were* done that way and subtitled.
My reactions to this film in no particular order:
- I can't decide who I love more, Irina, Gavrilov or the Jewish trumpet player who's always got an eye for a money-making scheme (Viktor?)
- apparently both rehearsing and tuning up are for amateurs.
- either Gavrilov or Sacha is holding this whole thing together, because it sure as heck ain't Filipov
- musical telepathy is the best kind of telepathy. It's super-effective!
- huh, turns out Paris is secretly…
"I know you can be overwhelmed, and you can be underwhelmed, but can you ever just be whelmed?"
I wanted to be so much more impressed by and engaged with this film than I was. Honestly, rather than gasping at the supposed twists, I was gasping at the sudden and unexpected appearance of Jaime Lannister. That and the blatant Matrix plagiarising. Though the HAL-esque drones were good.
Also, the ending...WHUT.
Get ready, here come my musings (in no particular order):
Hmm, the beginning seems strangely familiar - Expendables bust former team mate out of captivity, check, lots of explosions and shooting, check, bad guy shows up and is already known to Stallone, check, member of team taken out as a warning to Stallone, check!
Dolph, why aren't you in every scene?
Jason, why aren't *you* in every scene?
Harrison Ford looks really uncomfortable in that suit.
Huh I wonder why…