Red's premise is expanded from a DC Comics graphic novel series from author Warren Ellis and artist Cully Hamner, and director Robert Schwentke (The Time Traveler's Wife, Flightplan) wisely accentuates those origins. Schwentke's amped-up color scheme and flashy action sequences give Red the look of various comic-book panels coming to life, such as the brightly sardonic touch of using postcards of American locales (a reference to [Sarah]'s cluttered workspace) as visual segues whenever the movie and its characters zigzag from one American city to the next. The visceral macho pow, however, also gets satirized occasionally, such as the movie's best special-effects shot that allows [Bruce Willis]' [Frank Moses] to nonchalantly step out of the still-spinning police car he has just stolen (it's spinning because Cooper's vehicle has collided with it while in hot pursuit) and then walk down a New Orleans street as his pistols start blasting away.Red earned more than $90 million at the nation's box office for Summit, a company mostly concerned with the Twilight franchise (one exhibitor, however, snarkily confided, "Imagine how much more it could have made if it was released by a different studio."), and a sequel is in the planning stages. Meanwhile, Summit Entertainment Home Video's DVD release is doing quite well on the rental and retail shelves. It's billed as a "special edition," but the usual extras make appearances, such as 29 minutes' worth of behind-the-scenes snippets and nine minutes of deleted and extended scenes, some with literal seconds restored that were shaved off the final print. There's a pop-up trivia gizmo that can be activated, and the six-minute "CIA Exposed" vignette, dealing with the batch of agency secrets that were revealed in 2007 (the CIA's LSD experiments form the basis for the [John Malkovich] character), is handled with the type of low-rent animation that you'd find in an ancient Encyclopedia Brittanica school film.
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