Fuqua went further than his predecessor: the composition of the team of seven snipers could not be more mixed. Some of them are Mexican, from the Far East, African American, and they are completely different in their destiny, profession, way of life, and conveyed to viewers: their basic human values do not depend on skin color or social status, they are eternal and universal. However, the filmmakers did not bother much to illustrate the individuality of the seven protagonists. We get smaller flashes of their lives, we can look into the little corner of the dark side of their souls, but we can only explain on a guessing level what gets them involved in everything they ignore and get into a situation they know exactly how hopeless they are. And that’s exactly what makes the movie work. The director reshot it, but did not reinterpret anything. About halfway through the film, it becomes abundantly clear that Fuqua is revealing a classic update of a classic story. All western props are before our eyes, basking in the brush in the ancient duel of evil and good.
Accordingly, the script eschews innovation, and the biggest concessions are made with humorous or humorous, situational comics that can’t be complained too much: somehow all is well, just in time to be aware of both the stereotypes of the Hollywood legend genre and the fact that the cast of Good actors enjoy a lot on the set.
