As a director, [Antoine Fuqua] has a very uncompromising view," producer Lorenzo di Bonaventura explained. "With Antoine, when the story is emotional it's going to be really emotional. When it's violent it's going to be really violent. If it's mysterious it's very, very mysterious. The whole experience of the movie is heightened." That's just a roundabout way of saying Fuqua takes things to extremes. That includes violence, language ... and an extreme need for audiences to suspend disbelief.
Indeed, Shooter is one of the most testosterous movies of the year so far. Don't grab a dictionary. That's my term for action flicks that are both preposterous and teeming with testosterone. Testosterous. You know the genre. Large body count. Lots of pyrotechnics. Buzz-worthy fatalities that fans savor for their own twisted, visceral reward. And don't forget the ludicrous plot, illogically omniscient hero and caricatured villains who exist simply to get viewers from one explosive chase-and-destroy sequence to the next. Think Rambo, Die Hard, 007, Schwarzenegger's complete action canon and pretty much anything starring Steven Seagal or Jean-Claude Van Damme.
One defining characteristic of a testosterous movie is that it will feel like a hybrid of other films. After all, how many different ways can Hollywood set up the ol' one-volatile-man-against-the-system story? Usually it begins with a dead partner or high-level double-cross that drives the hero to clear his name or, if he's really peeved, exact revenge. Shooter has all of those elements and more. In the end, it feels like First Blood and The Bourne Identity cobbled together and polished off with a brutal dash of Commando. The shootings are frequent and bloody. Yet even then, it's hard to say which felt more unsettling upon reflection, that violence or the movie's validation of vengeance, wholesale disrespect for government and endorsement of vigilante justice.
As a director, [Antoine Fuqua] has a very uncompromising view," producer Lorenzo di Bonaventura explained. "With Antoine, when the story is emotional it's going to be really emotional. When it's violent it's going to be really violent. If it's mysterious it's very, very mysterious. The whole experience of the movie is heightened." That's just a roundabout way of saying Fuqua takes things to extremes. That includes violence, language ... and an extreme need for audiences to suspend disbelief.Indeed, Shooter is one of the most testosterous movies of the year so far. Don't grab a dictionary. That's my term for action flicks that are both preposterous and teeming with testosterone. Testosterous. You know the genre. Large body count. Lots of pyrotechnics. Buzz-worthy fatalities that fans savor for their own twisted, visceral reward. And don't forget the ludicrous plot, illogically omniscient hero and caricatured villains who exist simply to get viewers from one explosive chase-and-destroy sequence to the next. Think Rambo, Die Hard, 007, Schwarzenegger's complete action canon and pretty much anything starring Steven Seagal or Jean-Claude Van Damme.One defining characteristic of a testosterous movie is that it will feel like a hybrid of other films. After all, how many different ways can Hollywood set up the ol' one-volatile-man-against-the-system story? Usually it begins with a dead partner or high-level double-cross that drives the hero to clear his name or, if he's really peeved, exact revenge. Shooter has all of those elements and more. In the end, it feels like First Blood and The Bourne Identity cobbled together and polished off with a brutal dash of Commando. The shootings are frequent and bloody. Yet even then, it's hard to say which felt more unsettling upon reflection, that violence or the movie's validation of vengeance, wholesale disrespect for government and endorsement of vigilante justice.
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