Well, we’re all over the map this week. But there’s something fishy about this group:
“They started it.”
Perhaps the director of Stomp the Yard was the wrong choice for an action effort like The Losers. Sylvain White doesn’t bring anything to the film, which has a weirdly bland glaze to it, a generic non-style that only livens up when comic book-style titles are shown and clichéd slow-motion photography utilized. But this shouldn’t stop audiences looking for some quick, almost bloodless fun from seeing the film, as it does have a winning cast and a surprising amount of effective humor that leaves you feeling pretty good about the experience.
Shorn of its political subtext and played broadly for laughs, The Losers emerges as breezy, populist entertainment.
Judging from the first 12 issues, the source material was not some deep philosophical fount. (That’s as much as I’ve read of the 32-issue series, published by Vertigo from 2003-2006.) Writer Andy Diggle structured the book as a series of self-contained missions undertaken by the former members of a special teams force. But what missions! As illustrated, for the most part, by the single-named artist Jock, the pages burst with energy and play very much as Diggle intended: a “man crush love letter to Shane Black,” the screenwriter of Lethal Weapon, The Long Kiss Goodnight, and Kiss Kiss Bang Bang.