Bullet to the Head

His face is wrinkled, his movements are comical and his methods are inhuman. They call him Bobo. Unfortunately, this collaboration between two action legends (one in the director’s chair and the other in front of the camera) didn’t turn out to be a major comeback for either of them. From the very beginning, Walter Hill’s uncompromising directing, which goes from one extreme to another without a single wasted minute, leaves us in no doubt that Bullet to the Head is a comic book brought to life. The killing happens so frequently and with such indecorous matter-of-factness that it becomes a rhythmising element of the narrative. I welcome the fact that the protagonist’s amoral nature is not in any way condemned, which is a clear reference to classic film-noir together with the (underused) voice-over and the retrospective narrative structure connected with it, as well as the dominant type of setting (neon-lit bars) and the prevalence of night-time scenes. The noir cynicism doesn’t go entirely well with the more laid-back buddy-movie level of the narrative, which for a change brings to mind some of the coarser action comedies of the 1990s. The film lends itself to a comparison with The Last Boy Scout, whose protagonists, however, found it easier to believe that they had given up on all ideals. The incompatibility of Stallone’s straightforward type of action with his assigned role, which requires a more layered approach to acting, is one of the film’s weaknesses, as the frantic editing of the action scenes detracts from the film’s likable old-fashioned nature. That said, Bullet to the Head is still a solid action flick, though – like The Expendables – it is most entertaining when it refers back to the time when Sly was a much bigger presence (see the photographic recapitulation of his criminal career). 65% (07/07/2013)

There’s really no great miracle here, and if it weren't for Stallone in the lead role, my rating would be even one star less. The script has nothing in it with which to surprise, except perhaps for the way it resembles the scripts that have been used by Seagal, Lundgren and others in recent years. The direction is nothing miraculous, the action scenes lack tension, and the only thing worthwhile was the final battle with axes, but which ended rather stupidly. What I really liked was Mazzar's music, which I've been listening to for a few weeks now. If I have to compare, Arnold's more imaginative and less serious/ridiculous The Last Stand is clearly better. (07/06/2013)

A proper homage to the 1980s. From the music, through the editing, the sounds of blows, the voice-overs, the script. Walter Hill put it together well, the film works. It doesn't want to say too much, nor does it have much to say. It's about having fun, nostalgically reminiscing, and moving on. Stallone is in fantastic form even at his age, the action is tough, without slow motion, plenty of blood, exactly as it should be. Jason Momoa is a phenomenal opponent. It was solid entertainment, without further ambitions. (06/23/2013)

I simply like Stallone, so I tolerate it when he appears in something that is story-wise extremely boring. This is exactly the case. I am really curious whether the comic book source material is equally boring, but I would be quite surprised. However, Americans just remade it their own way and it turned out to be a rather ordinary action cliché. (10/01/2014)

Some senior citizens choose to spend their twilight years in cottages, fishing, or freestyle fighting in Wallmart. Grandpa Sly, on the other hand, approaching 70, remembered the good old 80s, and it didn’t turn out bad at all. I'm not sure if ‘Aquaman’ was a good choice of the main villain. Jimmy Bonomo often looked a little sad next to him, but oh well. It was packed with action, one-liners, Sarah Shahi looked great, and, most importantly, I had fun. (11/16/2020)