There is nothing more pleasing than a product (or an individual for that matter) that is completely self-aware. It just makes everything less awkward when the fated time comes where one must be honest and up front about things. This is what makes both
London Has Fallen and its predecessor,
Olympus Has Fallen, so easy to like and enjoy. Both films know exactly what they are and strive to be nothing more (or so I thought given the idea of a sequel to such a film would presumably follow the same pattern). As a blatant
Die Hard rip-off that means to entertain a certain type of audience primed for a certain type of entertainment
London Has Fallen mostly fulfills that quota. Are either of these films necessarily good? No, not really. The dialogue is cheesy, the CGI is cheap, and the plot is almost completely nonsensical, but to say they're not at least a good bit of fun would be a lie. Gerard Butler (bouncing back somewhat from last week's truly terrible
Gods of Egypt) is charismatic enough to lead the charge in this kind of film while the four-man screenwriting team has upped Aaron Eckhart's presidential role considerably so that there is something of a buddy cop dynamic to the proceedings. Oddly enough, while
Olympus made $161 million worldwide on $70m the budget for this sequel apparently went up by $35m, but looks a fair amount cheaper. Iranian director Babak Najafi takes over for original helmer Antoine Fuqua and despite having more money, but a broader canvas on which to paint this inevitable, but costly sequel ends up feeling like more of a laborious effort than its rather elementary predecessor. In short, there are times when
London Has Fallen does unfortunately forget what it needs to be (a wall to wall actioner) and instead gets too wrapped up in the politics of the plot resulting in a film that's all the more ludicrous while also slowing what should be a breakneck pace. It is when Najafi sticks to what this franchise is known for rather than attempting to broaden its horizons that audiences get what they paid to see. There's a line in the film, some words of wisdom, that go, "never criticize, only encourage," and while this may not apply to film criticism given "critic" is the root word of the job title if I were to have encouraged
London Has Fallen to do anything it would have been to stay more true to itself and not try to be more than what it was always destined to be: a painless cash grab.
