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ON FAITH & MEDIA View Comments

The Losers

By
John P. McCarthy
Source: Catholic News Service


Jeffrey Dean Morgan and Idris Elba star in a scene from the movie "The Losers." The USCCB Office for Film & Broadcasting classification is L—limited adult audience.
Though the slick, slam-bam action comedy "The Losers" (Warner Bros.) holds itself in higher regard than its deprecatory title and flippant tone would suggest, its appearance is a sure sign that Hollywood wouldn't mind extending the summer movie season to include every week on the calendar.

As disposable as any flick designed to fill multiplexes during the dog days of August, it can only make a winner out of studio bankers.

Developed from a comic-book series of relatively recent vintage, "The Losers" fancies itself far more hip and original than it is. Swagger may be essential to the picture's blend of stylized violence and macho jocularity, but the result is wearisome and would certainly qualify as morally objectionable if the violence were more explicit.

Passing for principled heroes in this milieu are five ex-special forces soldiers who, at the outset, toil for the CIA in an official yet clandestine capacity.

Deep inside the Bolivian jungle, unit leader Clay (Jeffrey Dean Morgan), communications expert Jensen (Chris Evans), demolitions ace Roque (Idris Elba), transportation specialist Pooch (Columbus Short) and marksman Cougar (Oscar Jaenada) undertake a mission at the behest of a shadowy spymaster known as Max (Jason Patric).

While paving the way for an air assault on a local drug dealer, they spy 25 children in the targeted compound. Defying their orders, they attempt to rescue the innocents.

But when the first of the movie's countless fireballs subsides, they realize Max has double-crossed them. Presumed dead, our five de facto exiles are stuck in Bolivia, losers in their own eyes and fugitives according to Uncle Sam. That is, until the comely and lethal Aisha (Zoe Saldana of "Avatar") turns up and promises to sneak them back into the United States if they agree to eliminate Max.

Along the way to that goal, there's much erotic tension—and a bedroom scene—between Aisha and Clay and a good deal of alpha-male conflict between Clay and Roque.

Playing like an elaborate episode of the 1980s TV series "The A-Team," the predictable plot features a few twists before the groundwork is laid for a sequel. "The Loser's" modicum of humor is attributable to Evans' likable performance.

Director Sylvain White ("Stomp the Yard") applies a music-video sensibility, making ample use of slo-mo shots of the heroes walking in stride and letting fast edits and certain graphic overlays pass for cinematic ingenuity. The production is praiseworthy insofar as the action sequences are well-choreographed, which makes you appreciate even more that the mayhem is never graphic.

The film contains a moderately explicit nonmarital sexual encounter, some profanity, at least two instances of rough language, a steady stream of crude and crass verbiage, frequent bloodless violence and some sexual innuendo. The USCCB Office for Film & Broadcasting classification is L —limited adult audience, films whose problematic content many adults would find troubling. The Motion Picture Association of America rating is PG-13—parents strongly cautioned. Some material may be inappropriate for children under 13.

*****
John P. McCarthy is a guest reviewer for the U.S. Conference of Catholic Bishops' Office for Film & Broadcasting.



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Thomas Aquinas: By universal consent, Thomas Aquinas is the preeminent spokesman of the Catholic tradition of reason and of divine revelation. He is one of the great teachers of the medieval Catholic Church, honored with the titles Doctor of the Church and Angelic Doctor. 
<p>At five he was given to the Benedictine monastery at Monte Cassino in his parents’ hopes that he would choose that way of life and eventually became abbot. In 1239 he was sent to Naples to complete his studies. It was here that he was first attracted to Aristotle’s philosophy. </p><p>By 1243, Thomas abandoned his family’s plans for him and joined the Dominicans, much to his mother’s dismay. On her order, Thomas was captured by his brother and kept at home for over a year. </p><p>Once free, he went to Paris and then to Cologne, where he finished his studies with Albert the Great. He held two professorships at Paris, lived at the court of Pope Urban IV, directed the Dominican schools at Rome and Viterbo, combated adversaries of the mendicants, as well as the Averroists, and argued with some Franciscans about Aristotelianism. </p><p>His greatest contribution to the Catholic Church is his writings. The unity, harmony and continuity of faith and reason, of revealed and natural human knowledge, pervades his writings. One might expect Thomas, as a man of the gospel, to be an ardent defender of revealed truth. But he was broad enough, deep enough, to see the whole natural order as coming from God the Creator, and to see reason as a divine gift to be highly cherished. </p><p>The <i>Summa Theologiae</i>, his last and, unfortunately, uncompleted work, deals with the whole of Catholic theology. He stopped work on it after celebrating Mass on December 6, 1273. When asked why he stopped writing, he replied, “I cannot go on.... All that I have written seems to me like so much straw compared to what I have seen and what has been revealed to me.” He died March 7, 1274.</p> American Catholic Blog We talk often about how we are God’s “hands and feet,” which is true. That being said, we can’t fall into the trap of thinking God needs us like we need Him. He’s God—which makes the reality that He wants to use us and be in a relationship with us an even sweeter, more profound truth.

 
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