The Boondock Saints II: All Saints Day Reviews
[It] isn't art but it is an improvement: a scurrilous, lowdown, sub-Tarantino action comedy that, unlike the original, doesn't make you want to claw your eyes out. How's that for praise?
Duffy is still chasing his perfect slide-and-shoot, except now with more self-satisfied posturing, awkward pop-culture referencing, casual homophobia and racism, and the most vulgar co-opting of religious iconography this side of Dan Brown.
The only truly ugly side to this self-consciously grimy movie is the streak of Neanderthal humor. Operatic overacting is funny. Racist and homophobic jokes? Not so much.
Can you fly forward through the air while firing two heavy-duty handguns without your arms jerking back and smacking you in the chin? Would that violate one of Newton's laws? Just askin'.
Writer-director Troy Duffy needs to YouTube himself a new idea or two, because his variations on themes provided by Quentin Tarantino and Guy "RocknRolla" Ritchie are pure mold.
The film's style mirrors that of the original, which was already late to the Reservoir Dogs ripoff party and feels doubly dated now, with Duffy still relying on his old trick of cranking up the heavy metal and techno music to boost excitement.
If Duffy's decade away has proved to be a humbling experience, you wouldn't know it from this bloated follow-up, which tonally goes all over the place, but its primary direction is over the top.
"There's not a bigger '**** you!' from Hollywood than when they say: 'Eh, we're not going to release this film,'" "The Boondock Saints II: All Saints Day" star Sean Patrick Flanery said in an interview.