#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – Robert Rath is a seasoned hitman who just wants out of the business with no back talk. But, as things go, it ain’t so easy. A younger, peppier assassin named Bain is having a field day trying to kill said older assassin. Rath teams up with a computer hacker named Electra to defeat the obsessed Bain.
Plot: Assassin Robert Rath arrives at a funeral to kill a prominent mobster, only to witness a rival hired gun complete the job for him — with grisly results. Horrified by the murder of innocent bystanders, Rath decides to take one last job and then return to civilian life. But finding his way out of the world of contract killing grows ever more dangerous as Rath falls for his female target and becomes a marked man himself.
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|6.4/10 Votes: 77,990|
|6.4 Votes: 1029 Popularity: 11.443|
Sly Stallone stars as an ageing assassin who gets embroiled in a cat and mouse game with a younger assassin who wants to be number one of the trade. Teaming up with a computer hacker, Stallone battles not only his pursuer but also an event from his past that troubles him so.
With Antonio Banderas and Julianne Moore in starry support, Richard Donner in the director’s chair and the Wachowski brothers on writing duties, Assassins held the promise of a top line actioner. Sadly that promise is not met.
There’s clear signs of the makers trying to make something more deep and cerebral, what ultimately transpires is a overly complicated – and way over long – picture. Punctured with great action scenes, none more so than an outrageous taxi ride that John Woo would be proud of, it’s in the middle section where pic drags itself into needless slumber. By this mid-point, one has had enough of Banderas, who comes off more like a deranged excitable kid than someone to be feared. Donner really falters there, but conversely he gets an interestingly engaging tune out of Stallone. Moore is very good, and gets some good dialogue to spout, which is a rarity, though, since much of the chatter is mumbled or said in such agitated or broody manner that the sound mix strains for aural clarification.
It’s not a stinker, and in its own way it’s a diverting time waster, but too many holes and too many poor production desicions leave it knocking at the averageville door. 5/10
A not great movie, but one that it’s hard to pinpoint exact ways in which it could easily have been improved. A Stallone/Banderas as cat and mouse assassins sounds promising, but in reality this technoir thriller is… Actually kind of boring. Seems like it needs a ground-up re-working to get a story up to the concept of that team, which sounds exhausting.
_Final rating:★★ – Had some things that appeal to me, but a poor finished product._
This movie is very entertaining and has appropriate amount of action and suspense. The action sequences are great and the interactions between Stallone and Banderas excellent. If you’re a fan of action films, this one is definitely worth a watch.
In Which Things Get Shot Up Real Quiet-Like
“Assassins” occupies a strange and strangely brief period in Sylvester Stallone’s career. In the midst of the over-the-top antics of “Demolition Man” and the…over-the-top antics of “Judge Dredd,” he made two films about Brooding Men of Action lured into One Last Job where they happen to Fall In Love and wonder What It’s All For. Sure, Ray Quick likes to blow things up real good while Robert Rath just has a silenced .22, but now we’re splitting hairs. The major difference is that while “The Specialist” soon turned into the ridiculous actioner most of Stallone’s output embodies, “Assassins” tries to be a quieter (literally), more grounded thriller. Sadly, that does not make it a better, or even good, film.
It does make an interesting first impression, though. The opening scene is striking, a black-and-white montage that feels abstract in its construction – a lot of emphasis on ticking clocks and cloudy skies. It’s almost totally disconnected from the movie we end up getting, which only makes it more memorable. Perhaps if things had continued in that vein, it might have been onto something. But then it remembers it’s a Stallone film.
“Assassins” is somehow both incredibly simple and far too convoluted for its own good, but the basic premise is a cat-and-mouse game between Stallone’s weary veteran Robert Rath and crazy young upstart Miguel Bain for the presumably venerated position of #1 killer in the…country? World? Other stuff happens, like a MacGuffin courtesy of hacker gal Elektra, but whatever. At 132 minutes, the film is far too long for the amount of plot it actually contains, with at least two scenes that achieve absolutely nothing beyond padding. Richard Donner, shepherd of the “Lethal Weapon” franchise, is out of his depth here – his action scenes alternate between silly and unremarkable, and his usual flourishes – blurry slow-mo, highly-destructive car chases – feel out of place. He’s very much a more-is-more director, which is the wrong approach for this material, and it shows.
Of course, it all comes back to the script. Reportedly, the original draft by the Wachowski siblings was thrown out and completely rewritten by “L.A. Confidential” and “Conspiracy Theory” scribe Brian Helgeland, at Donner’s behest. If so, Helgeland delivered something that neither plays to Donner’s strengths nor contains any of the siblings’ quirky flair. For example, in the original draft (which you can find a link to on Wikipedia) there is a chess metaphor that recurs throughout, symbolizing Rath’s relationship with his mentor, Nikolai. Helgeland gives this a perfunctory mention – in the middle of a car chase, no less – and it amounts to nothing in the end. A major twist would have been more effective if it made more sense, or wasn’t dismissed almost immediately. Half-formed story beats are probably the least of its problems, anyway.
Acting-wise, it has even more parallels with “The Specialist.” Stallone, trying his hand once again at a more dour, repressed version of his usual persona, has the brooding look down, but falters badly when trying to inject a (terrible) one-liner. It’s a vague glimpse of his superb work in “Cop Land,” but stunted by his attempts to also be the action star. Moore, whose career would soon take off with “The Lost World” and “Boogie Nights,” is similarly hamstrung by the material she’s given. There’s none of the depth of emotion she brings to her best roles, but then, Elektra has none of the depth of character that Moore’s usual roles do. Hey, you gotta pay the bills somehow.
No, as with James Woods in “The Specialist,” it’s the bad guy who wins out. Miguel Bain, like everyone else, is barely a character, but Antonio Banderas infuses him with such manic, live-wire energy that he overcomes the trite dialogue and wobbly tone to be the best thing about the film. To its credit, Banderas is given free reign to go way out to lunch, and while he can’t possibly save it, he definitely carries it.
“Assassins” is best considered an oddity in the careers of just about everyone involved. It’s not what you’d expect from Stallone, Donner or Moore, and it might be worth seeing as an attempt for each to stretch themselves – though all would have better success with later work. As for Banderas, it’s definitely one of his most entertaining turns, though not enough to raise this above a last-resort recommendation. If you’re a film enthusiast, compare the Wachowskis’ and Helgeland’s drafts on Wikipedia, and try to envision the film this might have been. It can’t have been any more confused about itself.
Original Language en
Runtime 2 hr 12 min (132 min)
Genre Action, Crime, Thriller
Director Richard Donner
Writer Lilly Wachowski (story), Lana Wachowski (story), Lilly Wachowski (screenplay), Lana Wachowski (screenplay), Brian Helgeland (screenplay)
Actors Sylvester Stallone, Antonio Banderas, Julianne Moore, Anatoli Davydov
Country France, USA
Awards 1 win & 1 nomination.
Production Company Evansgideon/Lazar, Donner/Schuler-Donner, Silver Pictures, Warner Brothers
Sound Mix SDDS, Dolby Digital
Aspect Ratio 1.85 : 1
Camera Panavision Panaflex Gold II, Panavision Primo Lenses, Panavision Panastar, Panavision Primo Lenses
Laboratory Alpha Cine Labs, Seattle (WA), USA (processing), Technicolor, Hollywood (CA), USA (prints)
Film Length 3,637 m (Sweden), 3,597 m
Negative Format 35 mm (also horizontal) (Eastman EXR 50D 5245, EXR 500T 5298)
Cinematographic Process Spherical, VistaVision (special effects)
Printed Film Format 35 mm