Escape Plan

I wouldn't overstate it with the return. Stallone is far from the intensity of the new Rambo. This is neither a comedy, nor action-packed enough, nor a clever heist film. There are too many coincidences and it is too straightforward with various plot inserts that are too obvious and for effect. There is little action and you have to wait for it for a long time. There are a few solid scenes, but they don't raise the adrenaline as much as you would expect from an old action school flick, and that has nothing to do with the age of the protagonists, they are completely fine. Only the screenplay should have been much better – even in honor of the 80s B-movies. Jim Caviezel is brilliant. (27/10/2013)

Escape Plan is helped a lot by the detached humour that Stallone and Schwarzenegger (and, to a lesser extent, the brilliantly sleazy Jim Caviezel) bring to the increasingly imbecilic story. Together, they transform the film into a reunion of alumni who passed a test composed of testosterone-fuelled gestures sometime in the 1980s. However, Håfström makes no effort to stylistically recall any of that. The only upgrade of the (arche)types that the two aging action stars have played over the past forty years is most likely supposed to consist in complementing pure muscle mass with an exceptional intellect. Unlike their ability to hold a ten-kilo machine gun in one hand, I did not believe either one’s shrewdness bordering on genius. Unfortunately, the action – i.e. the main reason the film exists – comes only after a hundred minutes of recycling the most hackneyed escape motifs. In addition to that, the resulting plan is so encumbered with the factor of chance that the presentation of Stallone as a master escape artist is cut off at the knees. After Sly’s unsuccessful attempt to address the matter at hand intellectually, the screenwriter sensible turns him back into good old ultra-violent Rambo. Overall, Escape Plan is just another unsuccessful attempt at a major (double) comeback that much more frequently raises a bemused smile rather than the adrenaline level. 65% (11/10/2013)

The script is just stupid enough. I'm simply fascinated by the studio's policy of bringing these over-serving tandems on set under the baton of directorial routinists who operate with the given material more than casually and can only make it work in a few catchy lines and, regarding this film, a unique religious Germanic outburst. Otherwise, it’s essentially a very sterile and fleeting spectacle. (15/08/2014)

Not just a long awaited meeting of two forgotten legends, but a good movie too. As far as possible, of course, there are so many coincidences, stupid decisions taken by the villains and unshocking surprises. But no matter. The structure is old, but the shell is newly painted. An enjoyable struggle between old procedures and modern methods throughout the entire picture, which gave me a pleasant feeling while watching. Stallone appears as a seasoned inmate and escape artist, Schwarzenegger knows how to get his hands on what’s needed and Caviezel represents the assiduous slipperiness so popular today (and he really enjoys it). The other characters are just there to make up the numbers, the most hilarious being “50 Cent" Jackson as a hacker with morals. The final punch-up is very nicely done and when Arnold picks up the machine gun, a smile spreads across the face of all orthodox fans. I don’t want to dwell on the resilience of the helicopter and the subsequent exploding barrels... I suppose it had to be included. Overall I’m satisfied, something that I couldn’t imagine originally. Old school on its best form. + Arnold’s Austrian way of distracting attention - that’s definitely the high point of the movie. (24/10/2013)

Futuretro and Sly who makes a lightbulb out of a bungee cord and even uses it to escape prison. Those were the first two feelings I had when I watched this movie. Truth be told, it wasn’t what I’d imagined. Especially the realism was completely off and I’d compare it to Demolition Man, only with one big difference; the lack of one-liners. Sly and Arnold are just acting tough rather than creating some sort of a laid-back atmosphere and emotions. And that’s basically the whole movie. The topic is really interesting when it comes to two action legends, but the director’s take was far too systematic. I didn’t really feel any heart in that. It doesn’t have one-liners, nothing that could elevate such a great idea to a level that could be called legendary. A shame. (11/03/2015)