The film is a team of black ops soldiers known as The Losers, who betrayed during what should have been a routine mission. It appears that the mission to operate effectively in the dark sociopath known only as Max (Jason Patric) and when the good guy group of soldiers protocol to break 25 to save innocent children, Max tries to eliminate. After barely avoiding their lives, and is believed to have died in the rest of the world, the losers took refuge in Bolivia, while planning how to get back on their lives. There, the Colonel Clay (Jeffrey Dean Morgan), the leader of the group extends the possibilities seriously hot Aisha (Zoe Saldana), a sexy ass kicker, who has an offer for him that he can not refuse. The losers agree that while the mission of the group members more reluctant than others. Here are a couple of shootouts and action sequences that are responsible embroiled in some fairly obvious plot twists and double crosses.
Jeffrey Dean Morgan proves he is a capable actor, but his great performance here. His charisma and acting in this way more gravitas to the Watchmen, and even in his short stint on the CW Supernatural, like his father, the Winchester boys. Zoe Saldana good enough for the fatal beauty of Aisha gave a sexy, dangerous power, but it was better last year and the last Star Trek reboot. Columbus Short and Idris Elba is fine, but the film belongs to Chris Evans, as the technical expert team Jensen. Evans is a wonderful comic actor who delivers the lines, great humor and bravado, and manages to steal every scene he is in the best scene in the movie, when Jensen tries to infiltrate a building disguised as a deliveryman. Now, one of the worst performances ever for the privilege of watching.
Sincerely, Jason Patric of evil, evil genius Patric gives up such a strange, off-putting performance that far from the super-evil threatening or scary, and instead comes off as an eccentric oddity. It’s like a Bond villain of opium or less a mad jumble of Dr. Evil and Rain Man. He is seriously terrible in this movie, and deserves his SAG card revoked.
Sylvia White is useful in the direction of the best and the worst horrible straight. The scenes are okay but a bit hyper-white style is based on too many weird camera angles and slow mo shots in the film. I’m in style as long as organic matter and the film feels like the bloom of Kick-Ass, or Watchmen, but it all comes down to the losers feeling very farfetched. In one scene, the losers outrace a huge fireball in the jungle on a yellow school bus, and instead, it feels different, and cool across as a bit desperate.