Ballistic: Ecks vs. Sever

I liked the trailers, I hoped for the best and then sat in dumbstruck horror as one of the worst films ever made (as in so bad its painful to watch bad) unspooled before my eyes. Rumor has it that the film makers know a thing about movie making. I know the cast does, but what wanders across the screen looks like the dailies of a really bad TV commercial put together by someone with no sense of film structure. I'm told that this has something to do with two assassins fighting each other after some one is kidnapped, but I'm not certain since things just sort of happen for no real reason. I would like to think that this movie was a big joke on the movie going public but no one would want to spend what it cost to make this movie as a joke, especially when there was no hope of ever getting the money back in ten thousand life times. A void unless your eyes need to experience cinematic blunt force trauma applied to them.

Start out with the Lucy Liu character. Wear a long coat and slacks everywhere you go. Look into a mirror and erase every expression you have. Speak about once every few hours.

Then you can do the Banderas character. Don't shave. Muss your hair. Put 15 jumbo olives in your mouth when you speak. Shuffle when you walk.

Oh yeah special effects. Let the gas on your stove run for about 10 seconds without lighting it. Then light it. Say "Boom". Repeat 100 times.

You can get a copy of the script really easy: Buy 10 comic books. Tear a couple of pages out of each one and staple the pieces together. Be sure that they don't fit too well together. They don't even have to be right side up.

If you do this, you won't need to rent this stinker.

`Ballistic: Ecks vs. Sever' has been saddled with not only one of the worst movie titles in recent memory, but one of the worst screenplays as well. The film's third-rate espionage plot makes no sense at all and serves basically as a lame excuse for endless explosions, shootouts and double-flipping car chases, which have become the standard accoutrements for virtually every action picture since `Bullitt' in 1968.

The problem with `Ballistic' is that the viewer can never tell who is doing what to whom or why – and we never care. The film is really all about style anyway. How else to account for the rather ludicrous image of Lucy Liu - looking more like a fashion model out on a shoot than a trained killer doing the shooting herself - strolling in elegant slow motion through the streets of Vancouver, wiping out what seems to be an entire hit squad with a combination of superhuman marksmanship and Matrix-like kickboxing moves? With her ankle-length designer coat and her icy-cool demeanor, she looks like Calvin Klein's idea of what the well-dressed assassin should be wearing this season. It's enough to reduce the whole enterprise to the level of comic absurdity – and, indeed, I often found myself laughing out loud at many of the ostensibly serious shenanigans occurring in the film. The flashbacks, which are obviously intended to clarify the characters' relationships, are so poorly done that they actually end up making the whole story more muddled and confusing. (And, although the child-kidnapping scenario is never as offensive in this film as it is in `Trapped,' one can still question the propriety of filmmakers running to this theme with the kind of frequency they seem to have been doing of late).

Antonio Banderas makes up the other half of the film's title (he is Ecks, she Sever), and one only wonders what he could have been thinking about when he signed on to co-star in this particular project. `Ballistic' is utterly dispensable moviemaking: here today, forgotten tomorrow, a film utterly without distinction, conviction or purpose.

When I say "Ballistic: Ecks vs. Sever" was incredible, I don't mean that in a good way. All the main characters are current or former US federal agents, presumably to keep it interesting, but all the action takes places in Vancouver, BC, which, last time I looked, was not in the United States. The basic storyline was fairly straightforward (and rather hackneyed), but the motivations of the various characters were utterly incomprehensible. The film was somewhat on the short side, and I couldn't escape the feeling that the three scenes which might have tied together the loose ends inexplicably ended up on the cutting room floor. Banderas phoned in his performance (for God's sake, enunciate, man), and the musical score was just irritating. The only two things "Ballistic" had going for it were the presence of some rarely-seen hardware (fun for you firearms buffs) and some spectacular action sequences (though these were plagued by some annoying clichés, such as a protective vest preventing all injury to a character, and henchmen showing complete disregard for personal safety), and these were simply not enough to save this turkey. Avoid.

1/2 out of ****

I'm not typically a particularly demanding moviegoer when it comes to action films; just give me well-choreographed mayhem set amidst a plot that makes a little bit of a sense or a few engaging characters and I'll probably be reasonably pleased. Ballistic fails to follow even that, which explains why the film bored the hell out of me. I'm almost hesitant to say this, but the latest straight-to-video Jean-Claude Van Damme schlock might actually be better than Ballistic, which was arguably 2002's worst film (I've never seen Rollerball).

There's something of a plot here, but I'm not entirely sure what the hell was going on. Antonio Banderas plays FBI Agent Ecks, Lucy Liu is Agent Sever, and the two of them are duking it out because they somehow have crossed paths with a wealthy man (Gregg Henry) who is determined to smuggle a small electronic device that can assassinate its intended victim via heart attack. Mixed up in it all is Talisa Soto as Banderas' supposedly dead wife, only she's not really dead. Much mayhen ensues.

Ballistic is directed by Kaos, a Thai filmmaker who apparently wanted his movies to live up to his name. This is his first American feature and he shows almost no ability in crafting an action sequence. Martial arts fights that should get the adrenaline-pumping are so stiltedly choreographed, it'll inspire either laughs or yawns. Kaos also goes overboard on the slow motion, ensuring there's never an opportunity for the fight scenes to build momentum. And this is the only film I can think of where the people involved in a car chase actually follow the speed limit!

I feel a bit sorry for the cast here, particularly Lucy Liu, whose martial arts talents are squandered here. To date, she hasn't been much of an actress, but she looks and convincingly acts tough so such a role here must have seemed like a good idea. For Banderas, this is the third film where he has trouble with mysterious women. I've heard of typecasting, but never to such a ridiculous extent. The only thing keeping this guy's career afloat is Robert Rodriguez and that Spy Kids franchise.