Showing posts with label Arnold Schwarzenegger. Show all posts
Showing posts with label Arnold Schwarzenegger. Show all posts

Sunday, 15 March 2026

Movie Review: Aftermath (2017)


Genre: Drama  
Director: Elliott Lester  
Starring: Arnold Schwarzenegger, Scoot McNairy, Maggie Grace  
Running Time: 92 minutes  

Synopsis: Air traffic controller Jake (Scoot McNairy) is on-duty and alone in the Columbus, Ohio control tower, and his divided attention contributes to a tragic mid-air collision. The victims include the wife and pregnant daughter of construction foreman Roman (Arnold Schwarzenegger). Both men's lives are changed forever, and Jake eventually relocates away from his wife (Maggie Grace) and young son. Roman sinks into a depression, and is determined to find someone to blame for his loss.

What Works Well: Inspired by the 2002 Überlingen mid-air collision, this is a heartfelt exploration of loss and grief. Jake is forced to live with the horrific consequences of one fateful shift, and Roman loses everything he ever cared for, without an apology from any source to lean on. Their subsequent trajectories pass through shock and untethering, both men seeking non-existent answers within the carnage of cruel fate. Arnold Schwarzenegger and Scoot McNairy find wounded humanity beneath standard victim definitions. 

What Does Not Work As Well: The grim emotional tone is set early, and remains entrenched throughout. Director Elliott Lester has to stretch the material over several emotionally redundant patches to fill the gap between crash and final resolution. Along the way, the accident investigation is short-changed into an insulting compensation offer delivered by sleazy airline executives.

Key Quote:
Roman: Look at this photo. I would like for someone to say that they're sorry for killing my family.



All Ace Black Movie Blog reviews are here.

Saturday, 14 March 2026

Movie Review: Raw Deal (1986)


Genre: Action  
Director: John Irvin  
Starring: Arnold Schwarzenegger, Kathryn Harrold, Sam Wanamaker, Ed Lauter, Robert Davi  
Running Time: 101 minutes  

Synopsis: Small-town Sheriff Mark Kaminski (Arnold Schwarzenegger) was previously booted out of the FBI for excessive brutality. Now goons working for mob leader Patrovita (Sam Wanamaker) kill an informant and several protection officers, including the son of FBI Agent Harry Shannon (Darren McGavin). He vows revenge and recruits Kaminski to infiltrate Patrovita's gang. Kaminski intends to prove his loyalty by disrupting the operation of rival mobster Lamanski, but a highly-placed mole will endanger the covert mission.

What Works Well: Arnold Schwarzenegger's sheer heft and presence adds a base standard of fun, although his acting is wooden and his line delivery stiff. The weapon-happy and over-the-top action scenes are frequent, loud, and sometimes knowingly wacky.

What Does Not Work As Well: This limited-budget Dino De Laurentiis production lacks style and polish, and would be utterly forgettable without Schwarzenegger. The plot is ludicrous, needlessly complex, and cluttered by too many interchangeable mobsters and tough-talking goons. Ed Lauter is a generic cop, Robert Davi is a hissing rival, and Kathryn Harrold is a token love interest with a gambling problem and an agenda. None of them leave any sort of lasting impression.

Key Quote:
Mark Kaminski (to his drunk wife): You should not drink and bake.



All Ace Black Movie Blog reviews are here.

Saturday, 7 September 2024

Movie Review: The Running Man (1987)


Genre: Science Fiction Thriller  
Director: Paul Michael Glaser  
Starring: Arnold Schwarzenegger, Maria Conchita Alonso, Yaphet Kotto, Richard Dawson  
Running Time: 101 minutes  

Synopsis: In 2017, America is a dystopian society run by an authoritarian government. When police officer Ben Richards (Arnold Schwarzenegger) refuses to harm unarmed civilians, he is framed for the subsequent slaughter and imprisoned. Recaptured after escaping, Richards is forced to participate on The Running Man, the most popular show on state-sanctioned television where convicts are hunted down and killed by brutal "stalkers". The show's host Damon Killian (Richard Dawson) is a self-assured celebrity, but Ben is assisted by fellow-contestants including Amber (Maria Conchita Alonso), who believes in his innocence.

What Works Well: Based on Stephen King's novel (written under the pseudonym Richard Bachman), this is a cheesy and self-aware science-fiction thriller intent on alleviating brutality with a steady stream of acidic humour. The bad guy "stalkers" are at cartoon levels of sophistication, Arnold Schwarzenegger delivers plenty of one-line zingers straight at the camera, and the spandex suits are iconically ridiculous. On the more serious side, the plot foreshadows computerized-control of everything, television's descent into the abyss of trash entertainment, and the opportunistic use of digital fakery.

What Does Not Work As Well: The budget limitations are apparent in the plastic-dominated and dimly-let sets. The entirety of the dystopian government's power appears to reside in and around a television studio, and the final battle featuring underground forces bursting into the open is a juvenile search for rudimentary action. In this vision of 2017, the music, outfits, hairdos, and plenty of technology (wired phones and cassette tapes) have not progressed much beyond the 1980s.

Key Quote:
Damon Killian: You bastard. Drop dead!
Ben Richards: I don't do requests.


All Ace Black Movie Blog reviews are here.

Saturday, 12 December 2020

Movie Review: Sabotage (2014)


An action thriller, Sabotage is crammed full of repetitive scenes and bloody carnage, all to little effect.

In Atlanta, John "Breacher" Wharton (Arnold Schwarzenegger) leads his elite Drug Enforcement Agency special ops team as they raid a fortified cartel headquarters. The bad guys are eliminated, and Breacher's crew also steal $10 million in cash to keep for themselves, but the stolen money quickly goes missing.

An internal investigation yields no outcome and months later Breacher reunites with his group, now wracked by guilt and suspicion. Soon the team members are getting murdered in gory ways, attracting the attention of Detective Caroline Brentwood (Olivia Williams). Breacher has to keep Caroline out of the way as he tries to identify the vicious enemies intent on eliminating his unit.

Primarily obsessed with puddles of blood and a surplus of gore, Sabotage trips up on repetitive scenes, an utter absence of charisma, and uniformly unlikable characters. Director and co-writer David Ayer scrapes the bottom of the dialogue barrel, everyone's vocabulary limited to predictable profanities and hurled insults.

Arnold Schwarzenegger at 67 years old is several decades too old for the role, and he is surrounded by the likes of Sam Worthington and Terrence Howard far from their best work. The conspiracy plot wades into ever more absurd territory with every murder, and the introduction of a personal vendetta angle for Breacher arrives too late and further strains credibility. Action scenes are supposed to somewhat rescue movies like this, but here Ayer rinses and repeats the same tactical unit building invasion shots every 10 minutes.

Neither smart nor fun, Sabotage self-destructs.



All Ace Black Blog Movie Reviews are here.

Saturday, 6 April 2019

Movie Review: Twins (1988)


A buddy comedy about mismatched men discovering they are brothers, Twins draws some laughs from its kooky premise but otherwise struggles to build a meaningful narrative.

Julius Benedict (Arnold Schwarzenegger) is the perfect human being, a product of a US government science experiment mixing the DNA of six carefully selected men with one remarkable woman, who unfortunately died in childbirth. Physically superior, emotionally mature and well educated, Julius has spent his sheltered life working with scientists on a tropical island.

Julius is shocked to learn he has a twin brother Vincent, an unwanted byproduct of the experiment who was sent to an orphanage upon birth. He ventures to Los Angeles and finds Vincent (Danny DeVito), a scrappy car thief owing money to loan sharks. They eventually team up and learn that not everything they were told about their parents is true. Meanwhile, Vincent steals a car with valuable merchandise in the trunk, and has an opportunity to finally get rich.

After firmly establishing his credentials as one of the world's premier action movie superstars, Arnold Schwarzenegger branches out into his first comedy role. Twins is built on a simple big-man small-man buddy concept, adding in simple themes of nature versus nurture and the benefits of a privileged upbringing.

Of course director Ivan Reitman isn't too interested in seriously exploring of any social topics. Twins goes after pretty basic humour portraying Julius as strong and book smart but naive and Vincent as a street survivor with a chip on his shoulder because life offered him nothing. The MacGuffin item-in-the-trunk leads to poorly defined bad guy Webster (Marshall Bell), and some bland action in the final quarter to satisfy Arnold's core fan base.

Enroute, plenty of momentum is lost with a sidequest romance featuring Vincent's girlfriend Linda (Chloe Webb) and her knockout sister Marnie (Kelly Preston). Once Vincent learns Julius is a virgin, setting him up with Marnie becomes an obsession occupying way too much screen time. The two women are overall treated badly by a script surrendering to male fantasy exploitive tendencies.

Schwarzenegger is quickly at ease in the lighter milieu, more than adept at making fun of his own image and deploying his muscular presence to serve a steady stream of humour. The partnership with DeVito is a natural fit, the two immediately sharing chemistry built on having nothing in common and therefore everything to learn from each other.

Twins is a classic exercise in broadening a star's audience, the quality of the content less important than the appeal of the concept.






All Ace Black Blog Movie Reviews are here.


Thursday, 19 April 2018

Movie Review: Escape Plan (2013)


The first on-screen teaming of 1980s muscular action stars Sylvester Stallone and Arnold Schwarzenegger, Escape Plan offers an original but ultimately dispiritingly weak and disjointed plot, plus some rehashed B-grade action.

Ray Breslin (Sylvester Stallone) is a prison escape consultant, hired by the Federal Government to break out of high security prisons and identify their weaknesses. His team includes business partner Lester (Vincent D'Onofrio), technical wizard Hush (Curtis "50 Cent" Jackson) and strategist Abigail Ross (Amy Ryan). Against the advice of Hush and Abigail, Ray accepts a CIA assignment to test the security features of a top-secret private sector prison holding people the US government wants to make disappear.

Once inside Ray realizes something has gone very wrong. Warden Hobbes (Jim Caviezel) and his vicious right hand man Drake (Vinnie Jones) have every intention of keeping him incarcerated for ever. Ray teams up with fellow inmate Emil Rottmayer (Arnold Schwarzenegger), who is harbouring secrets about elusive Robin Hood-type fugitive Victor Mannheim, and they start to develop a daring escape plan.

Directed by Mikael Håfström, Escape Plan deserves credit for conjuring up some decent original ideas. Few action films feature a prison escape consultant as the main protagonist, and fewer still manage to combine prison drama sweatiness with the dirty politics of illegally held detainees. The Miles Chapman story (he also co-wrote the script) also has one ace trick up its sleeve related to the actual location of the secret facility from which Ray Breslin has to escape.

Although pairing Stallone and Schwarzenegger was never going to be about cerebral stimulation, they do develop a basic level of rapport albeit without any edge. Despite the star presence, Escape Plan soon runs into trouble, as none of the two key plot points are adequately explained. Breslin is being betrayed, although the conspiracy against him is poorly developed and it is painfully obvious that trying to get rid of a prison escape consultant by throwing him into prison may have drawbacks. Emil Rottmayer's story is handled even more poorly. His relationship with the mysterious Mannheim becomes central to the escape plan, but is not provided the necessary space to mature.

The problems multiply as the film progresses, the sadistic actions of Warden Hobbes and his henchman Drake occupying far too much time, while the finer details of the attempted breakout get murkier. Sam Neill shows up as an unsure prison doctor and a cavalry-type rescue party gate crashes the climax, and most of the logic surrounding their involvement escapes from the script.

Of course Escape Plan ends with Arnold getting his hands on a massive machine gun and spraying bullets all over the place. The stars may age, but some of their signature moves never get old.






All Ace Black Blog Movie Reviews are here.


Sunday, 25 February 2018

Movie Review: Junior (1994)


A routine comedy, Junior carries a single joke but surrounds it with decent production values.

In San Francisco, Dr. Alex Hesse and Dr. Larry Arbogast (Arnold Schwarzenegger and Danny DeVito) are fertility research partners. When the Federal Drug Administration turns down their request to start human trials on Expectane, a promising fertility drug, their funding dries up. Head of research Dr. Noah Banes (Frank Langella) shuts down Alex's university lab, and replaces him with accident-prone Dr. Diana Reddin (Emma Thompson), an expert in cryogenics.

Larry decides to push on with one human trial anyway, and convinces Alex to be the subject. Larry steals one egg from Diana's lab, Alex fertilizes it, the embryo is planted in Alex's stomach cavity and he starts taking regular doses of Expectane. Meanwhile, Larry's ex-wife Angela (Pamela Reed) reappears in his life, and she is pregnant and wants Larry to be her doctor. Alex starts to enjoy the  pregnancy experience and unexpectedly falls in love with Diana.

Directed by Ivan Reitman, Junior reteams Schwarzenegger and DeVito after the success of 1988's Twins. The big-and-small, scrappy-and-cool contrasts still play well, but Junior has limited ambition. "Schwarzenegger is pregnant" pretty much starts and ends the summary of the film, and while Reitman milks the premise for all its worth, the film clearly struggles to maintain momentum.

So Alex, injected full of large doses of estrogen, goes through morning sickness, wonders about his sensitive nipples, experience the glow of pregnancy, enjoys the feel of his skin, starts eating for two, and becomes overly emotional. By the end of his pregnancy term Alex is dressed up as a woman and is going through prenatal classes. Funny, yes, but in a most predictable way.

Despite all of these emotional transformations Alex still finds the capacity to fall in love with a clumsy woman, but the romance between Alex and Diana is anyway wedged in to the script, and never convinces. Also unexceptional and unnecessary is Dr. Banes as the limp villain of the piece.

Schwarzenegger fully buys into the role and clearly has fun exploring the extreme opposite end of his tough screen persona. DeVito gets all the one liners and expressed exasperation as his research partner goes well past the initial limits of their experiment. A few clever role reversal lines make their way into the dialogue.

As for the science, Reitman does not even go there. Apart from planting an embryo in Alex's stomach and having him gulp down drugs, how that baby grows and develops in the body of a man is left up to the unexplained weird logic of simpleton comedies.

Junior delivers harmless laughs in a glossy package, but remains as superficial as a bad wig.






All Ace Black Blog Movie Reviews are here.


Sunday, 25 June 2017

Movie Review: True Lies (1994)


A tongue-in-cheek spy thriller with a big dose of domestic intrigue, True Lies combines a big budget action spectacle with the travails of a married couple keeping secrets from each other.

Harry Tasker (Arnold Schwarzenegger) lives a double life. He works as a globe-trotting spy for Omega Sector, a national security counterterrorism agency, but back in Washington DC his wife Helen (Jamie Lee Curtis) and daughter Dana (Eliza Dushku) believe that he is a boring computer systems salesman. Harry and his partner Albert Gibson (Tom Arnold) uncover a plot by glamorous art dealer Juno Skinner (Tia Carrere) and jihadist terrorist Salim Abu Aziz (Art Malik) to detonate stolen nuclear warheads in the United States.

Meanwhile Helen is getting bored with being physically and emotionally abandoned by Harry, and is slowly falling prey to the smarmy charms of used car salesman Simon (Bill Paxton) pretending to be a spy. Harry uncovers Helen's near-infidelity and without revealing his true identity provides her with a fake mission to boost the level of excitement in her life. When Aziz's men intervene and capture both Harry and Helen, the married couple have to confront each other and disrupt the terrorist plot.

Director James Cameron reunites with Schwarzenegger, and while True Lies is far from recreating the magic of the first two Terminator movies, it does deliver a silly fun time. Inspired by the French film La Totale! by Claude Zidi, everything is exaggerated with an overdose of stunts, destruction and special effects. The final 45 minutes is a non-stop cascading climax featuring explosions, endless firefights, rocket launchers, Harrier jets, helicopters, one blown up Florida bridge and several severely damaged high rises. None of it is subtle or even smart, but it is breathlessly entertaining.

What sets True Lies apart is a middle act that takes a break from the terrorist plot and delves into the troubled married life of Harry and Helen, In turn awkward and intriguing, Helen's clumsy drift towards having an affair to add excitement to her dull life with Harry adds an ironic element. What follows is original, funny and disturbing, as Harry's treatment of Helen certainly provides her with a thrill but also borders on abusive.

The rest of the film is James Bond on a really big budget and a little bit of laughing gas. Schwarzenegger slips comfortably into the suave spy persona, and even enjoys a tango twirl with Carrere at a swish Swiss villa bad guy gathering spot. The terrorist conspiracy is short-changed Bond-style into the barest of caricature characters hissing evil, but this being seven years ahead of September 11 2001, Cameron deserves some credit for predicting the zeal of jihadist groups.

Supporting Schwarzenegger is a game Jamie Lee Curtis who adds immeasurably to the film in a role that's much more than the token wife. Tom Arnold and Bill Paxton are the main sources of humour, while Charlton Heston pops up in a short role as the head of Omega Sector before disappearing entirely.

At two hours and twenty minutes the film is sloppily edited and much longer than it needs to be, Cameron extending almost every scene beyond what is necessary. True Lies is over the top in every respect, a case of too much of everything still providing something for everyone.






All Ace Black Blog Movie Reviews are here.


Saturday, 13 May 2017

Movie Review: End Of Days (1999)


A supernatural horror thriller, End Of Days finds Arnold Schwarzenegger delving into unusually dark territory. The film is laden with over-the-top special effects, but nevertheless strangely compelling.

With midnight on December 31 1999 approaching, the spirit of the devil infiltrates the body of a nameless New York City investment banker (Gabriel Byrne). The devil's plan is to mate with a pre-ordained woman by the stroke of midnight to conceive satan's child and fulfill Biblical end of days prophecies. Christine York (Robin Tunney) is the 20 year old intended victim, and the Vatican has been searching for her since her birth. The Papal faction of the church wants to protect her, but the rogue Vatican Knights believe that she should be killed.

Ex-cop Jericho Cane (Arnold Schwarzenegger) is a private security expert still grieving the murder of his wife and child. Along with his partner Bobby Chicago (Kevin Pollack), they think they are doing their jobs by foiling the murder of the banker by a deranged priest. Jericho investigates further and finds Christine unknowingly protected by satanists, awaiting the arrival of the mating hour. With Father Kovak (Rod Steiger) and the murderous Vatican Knights also looking for Christine and the devil closing in, Jericho has to find a way to protect the young woman from all threats while figuring out who can be trusted and sorting out his own demons.

End Of Days is an extrapolation of Rosemary's Baby and The Omen for the Schwarzenegger international fanbase. After a two year hiatus, the action superstar returns and resets with one of his darkest outings, both in subject and style. As directed by Peter Hyams, End Of Days is frequently gloomy and brooding, with many scenes claustrophobically located in poorly-lit settings. The grim aesthetic is punctuated by over-the-top but still impressive supernatural special effect extravaganzas courtesy of the devil's antics. The Arnold super-sized action scenes are of the unnecessarily spectacular variety.

What stands out most in End Of Days is that beyond the ridiculous premise, the film adopts a somber tone. The Bobby Chicago character wisecracks on the sidelines, but Arnold's Jericho is depressed and near suicide as the film starts, and then sucked into a battle with the devil himself, leaving no opportunity for irony or satire. By avoiding self-awareness the film demands to be treated seriously, and generally overcomes its own silliness with large doses of uncompromising violence.

In the body of Gabriel Byrne, the devil is given a decent opportunity to make his case. And insofar as these who-should-be-in-charge-of-humanity debates go, a prolonged scene with the devil offering Jericho attractive inducements to side with him is much better that it needed to be. The exchange straddles the line between absurd and existential and lands just on the right side of explaining human propensity to sell out in favour of selfishness.

And credit to Hyams, Schwarzenegger and screenwriter Andrew W. Marlowe for conjuring up and then sticking with a bittersweet ending. The special effects may consume most of the budget, but amidst the rampant destruction at the End Of Days happiness is found in a serene reunion.






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Saturday, 8 April 2017

Movie Review: The Last Stand (2013)


Arnold Schwarzenegger's post-politics big screen comeback kicks off with The Last Stand, a ridiculously fun B-movie running on surplus adrenaline.

In an audacious escape during a prisoner transfer in Las Vegas, drug lord Gabriel Cortez (Eduaro Noriega) is freed from the clutches of FBI Agent John Bannister (Forest Whitaker). Cortez takes Agent Ellen Richards (Génesis Rodríguez) hostage and using a souped-up Chevrolet Corvette speeds towards the border with Mexico. Meanwhile his heavily armed goons under the leadership of Thomas Burrell (Peter Stormare) are constructing a bridge over a narrow ravine near the dusty town of Sommerton Junction, Arizona. Cortez blows through every barricade and check point that Bannister throws in his way along the desert highway. The only thing standing between Cortez and ill-gained freedom is Ray Owens (Schwarzenegger), the grizzled Sheriff of Sommerton.

A former Los Angeles police force drug enforcement agent, Owens moved to Sommerton in search of a quiet life as he fades into retirement. His deputies Mike (Luis Guzmán), Sarah (Jaimie Alexander) and Jerry (Zach Gilford) are inexperienced and generally inept. Outgunned and outnumbered, Owens nevertheless decides to make a stand to stop Cortez, with the help of eccentric local gun collector Lewis Dinkum (Johnny Knoxville) and bad boy Frank Martinez (Rodrigo Santoro).

A cross between Rio Bravo, The Fast And The Furious and a Roadrunner cartoon, The Last Stand is a slick exercise in mindlessly clever action. Directed by Kim Jee-woon with an eye for sly style, the film pops with vivid colours, loud noise, over-the-top violence and quite a bit of wicked humour.

Amidst the calculated mayhem, The Last Stand also manages to throw in some lines of satire and wry observations. Owens is an immigrant seeking rustic calm, and he personally resents Cortez for giving immigrants a bad name. There are references to the craziness of Los Angeles, and a wink towards the carnage about to be unleashed on a sleepy border town. Kim injects copious amounts of local flavour, and the secondary characters populating Sommerton provide an animated backdrop fuelled by dry humour.

But this is a film all about action, and Kim does not disappoint. Once the guns start firing in earnest they really don't stop, and the final 30 minutes feature a sublime battle followed by an old-fashioned man-to-man showdown. The havoc is filmed with almost balletic artistry, Kim demonstrating an eye for cohesive composition and eloquent scene construction. Before the climactic gun battle, Cortez provides all the kinetic energy as he speeds along the highway in a missile of car. The driving scenes are exquisite, capturing unbridled speeds generated by a monstrous engine and sleek aerodynamics along the open road.

Despite all the gloss, The Last Stand never threatens to be anything other than implausible. The story is contrived and shallow, the acting stiff, and the characters lack any semblance of depth. But none of that matters; in many ways this is a throwback to the earliest Arnold movies, when brawn ruled and brains stayed outside the theatre. The man may be much older, but he can still haul around the biggest available machine gun.






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Thursday, 30 June 2016

Movie Review: Red Heat (1988)


A prototypical buddy cop action movie, Red Heat is all about flying bullets, macho men and attempts at witty one-liners. Some of it works, but most of it doesn't.

In Moscow, Captain Ivan Danko (Arnold Schwarzenegger) tracks down lethal drug trafficker Viktor Rostavili (Ed O'Ross). The criminal escapes and lands in Chicago, where he establishes contact with local thugs and arranges for a major new drug deal. When Viktor is picked up for a minor traffic infraction by Detective Art Ridzik (Jim Belushi), Danko arrives from Moscow to escort the prisoner back to the Soviet Union. Nothing goes as planned, Viktor is soon loose and carnage is unleashed on the streets of Chicago.

Directed and co-written by Walter Hill, who helped invent the buddy cop movie in 48 Hrs., Red Heat is a generic example of the genre and offers an episodic, incomprehensible and generally irrelevant plot that serves no purpose other than moving the action from one set-piece to the next. A good portion of the film has characters speaking in Russian with no subtitles, and once the setting moves to Chicago, Hill's sole preoccupation is to create the opportunity for Danko's next one-liner and Ridzik's next snarky retort as they engage in firefights and running battles with the bad guys using progressively bigger machinery.

The action is of course over the top, the mayhem on a grand scale, as the pursuit of one man converts Chicago into a war zone. In his brief time in Chicago Viktor manages to both get married to dance instructor Catherine Manzetti (Gina Gershon) and antagonize a gang of heavily-armed black thugs, ensuring that Danko and Ridzik have plenty of reasons to pursue suspects and dodge high-calibre bullets. Somewhere in there Hill throws in a MacGuffin in the form of a locker key where a bag full of something important is locked up, triggering plenty of chases, threats and hissing matches.

Schwarzenegger as a straitlaced Soviet cop is more subdued and emotionless than usual, maintaining a fixed expression and monotone delivery of monosyllabic words. Belushi fills the gap with an over-animated take on cynical Chicago cop Ridzik. Peter Boyle and Laurence Fishburne are generally wasted in generic roles as Ridzik's superiors.

Ridzik: Well, tell me something, Captain. If you've got such a fucking paradise over there, how come you're up the same creek as we are with heroin and cocaine?
Danko: Chinese find way. Right after revolution, they round up all drug dealers, all drug addicts, take them to public square, and shoot them in back of head.
Ridzik: Ah, it'd never work here. Fucking politicians wouldn't go for it.
Danko: Shoot them first.

At no time does the film pause to take a breath, explain itself, or attempt to find any character depth, at least not in English. Red Heat tosses in a few good zingers and boasts reasonable production values, but while the temperature is high, there is nothing of substance in the oven.






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Monday, 30 May 2016

Movie Review: Commando (1985)


An action film with no pretensions and some wit, Commando is exactly what is says on the can: Arnold Schwarzenegger killing a lot of bad guys as only he can.

Colonel John Matrix (Schwarzenegger) used to lead an elite army commando unit. Now retired, he is trying to forge a quiet life for himself with his daughter Jenny (Alyssa Milano). But the peace is disrupted when assailants first kill former members of Matrix's unit and then storm his mountaintop house and abduct Jenny. The attackers are working for Arius (Dan Hedaya), the former brutal dictator of the fictitious South American country Val Verde. Arius' main henchman is Bennett (Vernon Wells) a former commando in Matrix' team.

Arius holds Jenny as leverage and demands that Matrix travel to Val Verde and assassinate the current President, opening the door for Arius to return to power. Matrix pretends to play along and boards the plane for the eleven hour flight, but he reverses course and tangles with Henrique, Sully and Cook, the goons tasked with keeping him under control. Matrix then sets out to uncover Arius' hideout on a small island off the California coast and storms the compound to rescue his daughter. He will get help along the way from feisty flight attendant Cindy (Rae Dawn Chong).

Matrix. Remember, Sully, when I promised to kill you last?
Sully: That's right Matrix, you did!
Matrix: I lied.

Directed by Mark L. Lester, Commando is noisy and lethal action at its most basic. And what it does, it does really well. The film goes about the business of creating a straightforward revenge and rescue plot, and releases Schwarzenegger in to clean up the bad guys with the biggest weapons one very strong man can conceivably carry.

Cindy: What did you do with Sully?
Matrix: I let him go...

The film never pauses to ponder its own ludicrous elements, and hurtles full speed ahead from one well-executed set piece to another. It all ends with the final 30 minute sequence, one man assaulting an entire army in what proves to be a military mismatch of epic proportions: no army stands a chance against one angry Arnold wielding weapons liberated from a military surplus superstore. Only in America.

Cook: Scared, motherfucker? Well you should be, 'cos this Green Beret's going to kick your big ass!
Matrix: I eat Green Berets for breakfast and right now I am very hungry!
Cindy: I can't believe this macho bullshit!

To its credit the film does not take itself seriously, and despite the high body count and hissing villains plotting nefarious bad deeds, a stream of humour runs close to the surface. Many of the best laughs come to life in the exchanges between Matrix and Cindy, Rae Dawn Chong's flight attendant and wannabe pilot proving more than handy weather flying a plane or firing a rocket launcher.

Matrix: Excuse me, how long is the flight?
Stewardess: We land in Val Verde in exactly eleven hours.
Matrix: Thanks. And please do me a favor: don't disturb my friend, he is dead tired.

The supporting cast is not bad for this type of action film, and in addition to Hedaya, Wells and Milano also includes James Olson in the Richard Crenna role as Matrix' former superior, David Patrick Kelly as the slimy Sully, Bill Duke, and a small role for Bill Paxton.

But this is a film all about Arnold Schwarzenegger, an oversized star in the making. Commando celebrates all of its hero's attribute, the script conspiring to strip Schwarzenegger down to his swimming trunks to display his fearsome physique. John Matrix may be retired, but he clearly has not lost the motivation to work out, nor the desire to kill first and not bother with asking any questions.

Diaz (one of the men who abducted Jenny), trying to reason with Matrix: Mellow out man. We can't talk business with you waving guns in people's faces... Your daughter is safe, Colonel. Now whether she stays that way is up to you. My people got some business with you. And if you want your kid back, then you gotta co-operate, right?
Matrix: WRONG! [shoots him between the eyes].







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Friday, 3 April 2015

Movie Review: Eraser (1996)


A big budget Arnold Schwarzenegger action extravaganza, Eraser is fresh out of new ideas and settles down to recycle the violence, heavy weaponry and attitude from many previous and better productions.

John Kruger (Schwarzenegger) is the best agent working for the Witness Security Protection Program (WITSEC), the government bureau responsible for making critical witnesses disappear before and after they testify against violent criminals. Kruger first saves the life of careless mob witness Johnny Casteleone (Robert Pastorelli), and is then assigned by his WITSEC supervisor Robert DeGuerin (James Caan) to protect Lee Cullen (Vanessa Williams). She works at high tech weapons manufacturer Cyrez, and has uncovered evidence that Cyrez is illegally exporting advanced weapons to enemies of the United States.

WITSEC Chief Arthur Beller (James Coburn) advises Kruger that a lot of well-connected people will want Lee dead, and he is soon proven right. Kruger has his hands full fending off enemies, but manages to stash Lee in a New York safe house. Soon many witnesses that are supposed to be under protection turn up dead, revealing a mole within the agency and forcing DeGuerin and Kruger to swing into action to try and reach Lee before the death squads. Kruger soon realizes that he is surrounded by traitors, and as the deadline for a huge illegal weapons deal approaches, he finds an unlikely ally in Casteleone as he tries to thwart the bad guys and keep Lee alive.

John Kruger is big, strong, robotic, works alone and is pretty much indestructible. It does not matter how many times he is shot, stabbed, buried in rubble or otherwise hurt. In the very next scene his injuries are irrelevant and the mayhem continues. In short, he represents the shorthand summary of many previous Schwarzenegger characters, and he blazes through the film fending off countless enemies, shooting, maiming and overcoming villains no matter how outnumbered or hurt he may be.

Eraser is directed by Chuck Russell, and he keeps the action coming at the pace needed to satisfy the undiscerning viewer, which also conveniently covers up the numerous plot holes and disinterested acting. Caan and Coburn sleepwalk through the film, miles and years away from their era of relevance, while Vanessa Williams appears to try hard but cannot overcome a fundamental lack of ability to act. Schwarzenegger does not try to act; he just times the delivery of his one liners to maximum effect, and some of these actually work.

In terms of stunts and set-pieces, Russell does deliver a few gems amidst the prevailing and predictable silliness. There is a long free fall from a plane, a New York zoo aquarium shoot-out that involves some massive and quite hungry alligators, and a cool handheld rail gun with wall-penetrating visibility. Of course the film ends with Arnie destroying his surroundings carrying not one, but two of the massive weapons. When it's Schwarzenegger doing the erasing, only the biggest and baddest erasers will do.






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Saturday, 29 March 2014

Movie Review: Terminator 2: Judgment Day (1991)


A science fiction masterpiece, Terminator 2: Judgment Day finds star Arnold Schwarzenegger and director James Cameron at their peak, combining astounding action with visionary special effects and a compelling story.

It's 10 years after a T-800 terminator robot was sent from the future by the Skynet computer network machines to try and assassinate Sarah Connor (Linda Hamilton) to prevent her from giving birth to future human rebel leader John Connor. Sarah is now incarcerated in a mental institution after trying to blow up a computer factory. John (Edward Furlong) is 10 years old, a troubled but resourceful boy living with foster parents.

T-1000 (Robert Patrick), a deadlier, more advanced terminator unit with a liquid metal core is sent by Skynet to try and kill John. In response, the humans send a T-800 unit (Arnold Schwarzenegger) to protect him. As John and T-800 escape from T-1000 and rush to reconnect with Sarah, she is troubled by nightmares of the Skynet-initiated nuclear apocalypse to come, and is busy trying to escape from the mental hospital. Once John, Sarah and T-800 join forces, they arm themselves for the fight to come, and Sarah insists on trying to alter the future by eliminating Miles Dyson (Joe Morton), the computer scientist unknowingly creating the genesis of Skynet.

A sequel that matched and bettered an already terrific original, Terminator 2 ushered in a new era of computer generated special effects. The shape-shifting, self-repairing molecular liquid metal capabilities of the T-1000 are presented in some eye-popping segments, totalling no more than five minutes of screen time but forever changing the science of what is possible in creative movie making. And the effects are only used to serve the story: as Cameron gradually reveals the capabilities of a killer robot engineered out of liquid metal, the indestructibility of the T-1000, as played with lethal iciness by Robert Patrick, looms large over the film, creating a terrifying new and seemingly unstoppable villain.

Every monster needs a hero to battle, and Schwarzenegger steps up to the highest level of action hero superstardom in bringing back the comparatively more rudimentary T-800, this time as a saviour rather than a terminator. Arnold as a robot was always a good match, but here star and character are both ironically humanized by a powerful father-son bond that develops between T-800 and the young John Connor. Cameron was obviously recreating the hugely successful mother-daughter experience between Ripley and Newt from Aliens, and he gets it right again. The T-800 does the heavy lifting in terms of protecting John and Sarah, but John does all the teaching and mentoring, transforming the robot into a humane presence and giving the movie its humorous bite.

The script, written by Cameron and William Wisher Jr., achieves an impeccable balance between stunning action and character development. The pace is unrelenting, but there are a surprising number of scenes where Sarah, John and T-800 advance the story through personal growth. Sarah has to confront her justifiable rage, John has to grow from child to future leader, Sarah has to let him achieve that growth, and T-800 has to remain true to his orders and his master while learning about some uniquely human attributes.

All this takes place against a backdrop of T-1000 incessantly hunting John down, and Sarah insisting on hunting down Dyson to re-write human destiny. The chase scenes and stunts are plentiful and simply breathtaking, edited with grace to maintain clarity amidst brilliant mayhem. And when the machine guns, Gatling guns and grenade launchers come into play, which is often, Cameron does not spare any bullets or explosions.

Linda Hamilton transforms Sarah Connor from the innocent victim of the original film to a lean, angry and muscular fighting machine, Cameron again inspired by Aliens to place a strong and kick-ass woman near the centre of an action movie. Edward Furlong, making a dream debut and all of twelve at the time of filming, gives a touching performance as the young and scrappy John Connor, quickly getting to grips with his destiny after realizing that the wild stories of his mother were true after all. Unfortunately, Furlong's promising career was subsequently derailed by substance abuse.

Packed with memorable characters, tremendous action, visionary creativity, and many enduring little moments of humour and humanity, this is the perfect action-oriented science fiction film. After a rollicking climax, Terminator 2 proceeds to find an elegant ending, as good things come to an end to prevent worse things from coming to mad fruition.






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Friday, 4 October 2013

Movie Review: The 6th Day (2000)


A science fiction action thriller exploring human cloning, The 6th Day has enough smarts on display to overcome the more formulaic aspects of a Schwarzenegger big-budget movie.

In the near future, cloning company Replacement Technologies is peddling cloned pets, but the cloning of humans is still considered illegal. Adventure helicopter pilots Adam Gibson (Schwarzenegger) and Hank Morgan (Michael Rapaport) get tangled up in an assassination plot by anti-cloning activists targeting Michael Drucker (Tony Goldwyn), the CEO of Replacement Technologies. Adam is shocked to discover that he now has an illegal clone who has already moved in with his wife Natalie (Wendy Crewson) and daughter.

Adam finds himself on the run and chased by Drucker's security chief Robert Marshall (Michael Rooker) and assassins Talia (Sarah Wynter) and P.Wiley (Rodney Rowland). As Adam delves into the mysterious goings on at Drucker's firm, he discovers a fully functioning illicit human cloning operation, using the methods of head scientist Doctor Griffin Weir (Robert Duvall). Drucker has ambitions to control the levers of world power by influencing politicians through cloning and perpetuating life according to his whims. Adam has to find a way to get rid of his clone and expose Drucker's plot before his family is destroyed.

The 6th Day suffers from the normal excesses present whenever Schwarzenegger is cornered into unleashing a destructive on-screen rampage. But the car chases, fights, shoot-outs and explosions are kept within reasonable control by director Roger Spottiswoode. To the extent possible the story remains at the centre of the movie, and the examination of cloning and its possible implications is afforded the required space.

Presenting pet cloning as a generally accepted retail activity is a clever entry point. After all, it's difficult to confront the tears of a grieving child knowing that dead pooch can be cloned at the mall and brought back home healthy in a couple of hours. From there it's a short jump for the Cormac and Marianne Wibberley script to make the argument that human cloning can bring back loved ones from terminal diseases, preserve brilliant minds to enable future discoveries, and save children from being orphaned.

Young, brash and smart, Michael Drucker knows that legal or not, there is a growing demand for his product, and it's only a matter of time before the laws are overturned. Drucker mainly cares to be in control of the market and its implications, a quick metaphor for cloning allowing humans to effectively play the role of God, will all the mindbending implications that follow. The question of who lives forever and who dies forever lands in the hands of those who control the technology, and society is far from ready to grapple with the resultant ethical conundrums. And when things go very wrong, as they do when Adam Gibson finds himself coexisting with his clone, the available solutions all appear ugly.

Amidst all the good-guy, bad-guy, bland-wife stock characterizations, Robert Duvall offers up the only nuanced performance. His Doctor Griffin Weir is interested in the science and not nearly as concerned with the morality of cloning. But there is a hint of an uneasy soul within Weir as he observes what the likes of Drucker are capable of. When personal disaster strikes, the doctor reaches the end of his ability to facilitate megalomania.

The 6th Day enjoys attractive Vancouver locations, and within the confines of the action genre, delivers discerning entertainment in a glitzy package. For a movie with not one but two 53 year old Arnold Schwarzeneggers, that's as good as can be hoped for.






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