Favourite Action Films!

"Welcome to the party, pal."

Die Hard is considered to be the seminal action movie of the 1980s. Produced in 1988, this is the archetypal blueprint for the contemporary action thriller. It has been decades since this crackling action flick first hit cinemas in summer 1988, yet in the 21st century its influence on the action genre is still overwhelming. Die Hard is the smart-mouthed, high-rise thriller which launched Bruce Willis as an action icon. To this day, the world's greatest action hero (in my opinion) is Willis' John McClane. Willis portraying the New York Cop was a career-defining turn: he mixed comical repartee, action heroics and a grubby white vest to astonishing effect. Die Hard also vastly reinvented the action film formula. It introduced a hero that bleeds when shot, panics when people he's trying to protect are endangered, and conveys uncertainties about his ability to survive. McClane is a vulnerable Everyman as opposed to an unstoppable machine. Instead of dispersing bullets non-stop and regularly raising the body count, this hero prefers to employ his brain more frequently as an alternative. McClane was the lone Western hero transposed to a setting subjugated by skyscrapers rather than rock formations.

On top of this, Die Hard proved that action films could be genuinely original and break new boundaries whilst still awarding a mainstream audience the entertaining action they desired. By contemporary standards, the action in the film superficially emerges as fairly tame. Most films of late, such as The Matrix, depict over-the-top martial arts in irritating slow motion. The fight scenes in Die Hard are far more cramped and sweaty; saturated with a higher level of realism and brutality. These fights depict the way real men would do battle: with hard-hitting punches, struggles and a constant inkling of vulnerability.

The plot is as simple as it is involving. As the film opens, it's Christmas Eve and we are introduced to Officer John McClane (Willis): he's a New York City cop disembarking from a plane to Los Angeles. McClane's business in LA is to visit his estranged wife Holly (Bedelia) who had moved there several months beforehand with their children. Holly is in attendance at a Christmas function hosted in a high-rise LA skyscraper owned by the successful Nakatomi Corporation. Unfortunately for John McClane, the Christmas party is abruptly interrupted when a group of terrorists led by Hans Gruber (Rickman) seize control of the building and hold the guests hostage. McClane is, however, fortunate enough to be in a separate room when the terrorists make their presence known, therefore able to slip away. This consequently inaugurates an excruciating few hours as McClane works to evade the terrorists while also working to conquer them from the inside.

The film embodies all the customary action movie stereotypes: the hero, the nefarious bad guys, the trademark black guy (VelJohnson), the self-absorbed yet incredibly stupid police chief (Gleason), the despondently brainless federal agents (Bush and Davi) and the ex-wife who's still in love with the hero. However, all is fine as Die Hard spawned the majority of these clichés.

For an action movie made in 1988, the special effects (which secured an Oscar nomination) are still utterly mind-blowing. These special effects are still as effective today as their digital equivalent. The high level of practicality in these special effects is extraordinary, and they supply a valuable reminder about the dying art that's being rapidly replaced by CGI technology.
Prior to John McTiernan helming this 1988 masterpiece, he was only recognised for Predator and Nomads. I immensely adore Predator, however McTiernan's supreme cinematic creation will forever be the classic action romp known as Die Hard. The sense of claustrophobia is overwhelming, and we feel more riveted as the tension steadily increases with each passing second. His demolition-heavy vision - astoundingly captured with cinematographer Jan de Bont's lens - guarantees that the film is pure awesome mayhem...ensuring that it's fun no matter how many times one has watched it.

Die Hard also never conforms to the mediocre quality of a pure action fest. That said, there's still a decent dosage of gun battles, explosions and violent shootings. Decades on, and the gunshot wounds are still hard-hitting. Kneecaps being shredded by bullets, glass jammed into bare feet, bloody executions and fierce close combat are among the highlights. Like I said before, the violence probably appears quite tame when compared to contemporary action films, but it's stylish and used realistically. Despite all this action and violence, much of the 130-minute running time is dedicated to establishing the story and developing the fantastic characters. The script is impeccable. There's a great assortment of enjoyable scenarios punctuated with smart and fascinating dialogue. Die Hard also has the advantage of being largely unpredictable. We expect the hero to prevail, but there's a lack of sentimentality towards the characters, hence lending a hint of uncertainty.

The sound effects (which also earned an Oscar nomination) are ear-shattering and realistic. There are booming gunshots, brutal punches and deafening explosions. It'd be difficult to top even by today's standards. The film editing cannot be faulted either. The work of editors John F. Link and Frank J. Urioste holds up under close scrutiny. The directing/editing collaboration is terrific, resulting in minimal continuity issues. The remarkable definitive touch was eventually applied during the post-production period: Michael Kamen's score. There is no distinct Die Hard theme, yet there are countless segments of exciting, pulse-pounding music exclusive to the series. Kamen's musical composition for the film is perfect by action film standards. The intensity gradually elevates thanks to the amazing music. The film's key action sequences are even better with the inclusion of Kamen's efforts. The work behind the scenes is simply terrific!

Director McTiernan also ensured that no faulty performances would slip under the radar. As a result, the entire cast is amazing. Bruce Willis as John McClane cannot be faulted. The smart screenwriting provides Willis with a host of wisecracks and one-liners that are legendary, memorable and quotable. Willis also displays great versatility as an emotional side is expressed towards the climax. As he doubts he will survive the situation, McClane breaks down and lends a hint of vulnerability. The same cannot be said for Stallone, Van Damme, Chuck Norris or any other 80s action genre luminary. Prior to Die Hard, Bruce Willis was primarily known only for starring in the television show Moonlighting and the Blake Edwards comedy Blind Date. For the initial theatrical Die Hard posters, Bruce Willis' unfamiliar likeness wasn't featured because it was feared that this could be a major turn-off for cinemagoers. In hindsight, naturally, there is no doubt that the perennially smirking Willis contributed mightily to the film's enormous success as he traded blows and quips with equal assurance.
John McClane is essentially a Western hero like John Wayne or Roy Rogers. This similarity is referenced on several occasions. When McClane provides an alias, he asks to be called Roy. Alan Rickman's Hans Gruber even talks to McClane at one stage, and asks: "Who are you? Just another American who saw too many movies as a child? Another orphan of a bankrupt culture who thinks he's John Wayne? Rambo? Marshal Dillon?" To which McClane retorts with "I was always kinda partial to Roy Rogers actually". At the climax Gruber then says "Still the cowboy, Mr. McClane? Americans, all alike. Well this time John Wayne does not walk off into the sunset with Grace Kelly". "That's Gary Cooper, asshole" is McClane's response.

Alan Rickman surpasses perfection as the terrorist leader Hans Gruber. Die Hard already had the pleasure of featuring the greatest action hero of all time, but the film also boasts Rickman as the greatest action villain in cinematic history. Rickman's Hans Gruber is polite, witty and sinister. His character is well-written, and Rickman was the perfect man for the job.
But the screenwriter also develops a surplus of other characters as warm as toast. Reginald VelJohnson is highly likeable as the policeman inadvertently pulled into the situation. VelJohnson magnificently bounces off Willis' terrific dialogue. Although VelJohnson and Willis predominantly exchange dialogue via radio, their chemistry is solid.
Then there's Bonnie Bedelia as McClane's estranged wife. Bedelia develops a feisty character not afraid to make snappy remarks - even if a gun is pointed at her.
De'voreaux White contributes yet another terrific character. He provides comic relief and an easily likeable screen persona. I could keep going, but needless to say the supporting cast are devoid of flaws.

At the time of writing this review, Die Hard is two decades old. Even after those 20 years the film is a phenomenal action thrill ride of extraordinary proportions. It offers believable characters, staggering special effects, satisfyingly brutal action, as well as non-stop adventure and tension. Its success at the box office prompted studios to begin green-lighting a slew of knock-offs featuring other 80s action heroes: Die Hard on a ship (Under Siege with Steven Seagal), Die Hard in a sports stadium (Sudden Death with Jean-Claude Van Damme), Die Hard on a train (Under Siege II: Dark Territory with Seagal) and even Die Hard on a bloody big snowy mountain (Cliffhanger with Sylvester Stallone). All these younger siblings of this classic action film follow the same formula of the protagonist finding themself inadvertently entangled in a dangerous situation, and their daring-do is required. This is a testament to how brilliant, engrossing and influential this action masterpiece truly is. Furthermore, I've seen the film at least 60 times in the last few years (including a customary viewing on every Christmas Eve)...and I already want to watch it again. Films like these are simply too few and far between these days.

If you're a self-respecting action fan, Die Hard cannot be missed. If you enjoy watching smart, competent thrillers then this is an essential purchase. Or if you just like being entertained...Die Hard cannot be passed up. I'll be perfectly frank: Die Hard is damn close to being the zenith of filmic perfection. Even a five-star rating isn't sufficient. If this isn't the greatest action film of all time, then it's too close for words. This masterpiece ushered in a new era of action movies, bringing a human quality to the plethora of unbelievable situations in preceding incarnations whereby one man would take on an army himself.

"Yippee-ki-yay Motherfucker!"


Followed by three sequels, beginning with Die Hard 2: Die Harder.


"I wanted this to be professional, efficient, adult, cooperative. Not a lot to ask. Alas, your Mr. Takagi did not see it that way... so he won't be joining us for the rest of his life. We can go any way you want it. You can walk out of here or be carried out. But have no illusions. We are in charge. So, decide now, each of you. And please remember: we have left nothing to chance."

"Just once, I'd like a regular, normal Christmas. Eggnog, a fuckin' Christmas tree, a little turkey. But, no. I gotta crawl around in this motherfuckin' tin can."

The original Die Hard is an action blockbuster that rapidly became both a critical and commercial success. The prevailing philosophy of Hollywood movie studios is fairly straightforward: if there's an unexpected hit on their back catalogue, they should capitalise on its success by making a sequel. Sequels are an intriguing breed. Very rarely are these follow-ups capable of replicating the quality of its predecessor. These sequels usually adhere to the same formula of its forerunner while additionally retaining a number of the original characters for heightened nostalgia.

Die Hard 2: Die Harder brings back the popular character of John McClane (Willis): his quip-laden, terse style made him an ideal vehicle to be transplanted into just about any situation as long as it included lots of guns, lots of bad guys, and lots of violence. It'd be fair to state that the screenwriters for Die Hard 2 relied on the original far too excessively. The same formula is exercised (as in the main character finding himself in a situation requiring his heroics) and bouts of déjà vu will occur frequently. For instance: it's Christmas Eve again, McClane is forced to crawl through ventilation shafts again (McClane even states his familiarity with the situation), McClane is out to save hostages, his wife is one of these hostages, and the police are as useless as tits on a bull. It may be looked upon as a blatant and unimaginative facsimile of the original Die Hard to some...but, despite the panning this sequel took, it works!

Die Hard 2 is a straightforward, action-packed, thrill-a-minute, violent, extremely entertaining action romp and an endearing return of everyone's favourite action hero. The seminal rule of sequels is that they should be bigger...and everything is bigger. Unfortunately, due to everything being so much bigger, the size of your suspension of disbelief must also be bigger to compensate for it all. Unfortunately, too, this allows slightly less time for characters to flourish and a plot to be developed. This is still an action film, though, so we watch it to see some action of which there is plenty. It may be over-the-top, but it's charming and utterly exhilarating.
To me, Christmas is never complete without at least one screening of Die Hard and Die Hard 2: Die Harder back-to-back. They are imbued with the Christmas spirit and provide a very enjoyable evening of entertainment.

Anyway, onto the plot: it's a snowy Christmas Eve, and it's exactly one year following the events that transpired at Nakatomi Plaza. John McClane is waiting at Dulles International Airport in Washington for a plane carrying his wife Holly (Bedelia). Also scheduled for arrival that evening is a drug baron known as General Ramon Esperanza (Nero). Esperanza is being extradited to the United States to face drug charges. As a large snowstorm rages outside, a group of renegade terrorists led by a certain Colonel Stuart (Sadler) attack the airport. They disable all the capabilities of the control tower. Now the terrorists are in command of the landing lights and communication with the planes, essentially holding hostage all the planes endlessly circling above, and all the passengers on-board. Unless the demands of these terrorists are met, the planes will run out of fuel and begin plummeting to the ground. The terrorists are loyal to Esperanza and wish to secure the freedom of the General. Needless to say, McClane steps into the equation with plans to disrupt the intentions of the terrorists. Mayhem is what ensues. Also toss in the arrogant, egotistical TV reporter Richard Thornberg (Atherton), a bumbling airport police chief (Franz), Reginald VelJohnson in a brief cameo, and plenty of baddies for McClane to kill.

Grant: "You're the wrong guy in the wrong place at the wrong time."
John McClane: "Story of my life."

Even at a running time of two hours, Die Hard 2: Die Harder is a pulse-pounding action film featuring Bruce Willis as Bruce Willis in spades. Finnish director Renny Harlin was handed the reigns for this sequel. Harlin has had his good days (Cliffhanger) and bad days (Deep Blue Sea). Thankfully, this is one of his better days.
The film must be lauded for its outstanding special effects. Reminiscent of the first film, all the major explosions are done for real. There's green screen and miniatures with very little computer imagery in between. For the planes, the effects are close to unbeatable. Once again, this film serves as a good reminder of the dying art now being replaced in this current digital age. Harlin appears right at home with the action scenes. The director once described this movie as being during his "squib period" when referring to the abundance of blood being spilt when characters are gunned down. At times, though, the action is more pedestrian than stylish. The film also establishes more of a "shoot now, ask questions later" attitude for John McClane. Instead of a warning before pulling the trigger, he disperses bullets without a second of hesitation. With all the action and an extra dollop of gore, director Harlin has taken a literal reading of the subtitle, Die Harder.

Screenwriters Doug Richardson and Steven E. de Souza adequately recapture a number of the strengths of the original film. John McClane is still John McClane. He's tired, pissed off, and is thrown into a situation he doesn't like. While a few of the film's aspects borrow heavily from its predecessor, McClane's wisecracks and witticisms are new material and they're as sharp as a knife. On top of this, his "why me?" attitude remains the same and he spends a lot of his time talking to himself. He's the John McClane we've come to know and love. If you watch a Die Hard sequel, you're obviously looking to see exhilarating action, big explosions, and John McClane doing what he does best. Die Hard 2: Die Harder ticks all these boxes. The villain is one-dimensional, at times it's utterly absurd, plot holes are easier to notice and it's undeniably overproduced - but the film is entertaining nonsense and you can't be too picky when it comes to the action genre. However, with some well-written characters and a moderate amount of character development, it rises above the usual standard of Van Damme or Chuck Norris rubbish. Although Die Hard 2 is occasionally just an unimaginative remake of the original film, there are still a handful of creative ideas incorporated into this sequel.

Bruce Willis supplies yet another masterful performance as John McClane. His sardonic wit is in tact, and he has great chemistry with the actors surrounding him. By the 1990s, Willis had become the essential embodiment of the realistic action hero. He was the John Wayne of the contemporary action genre. Like The Duke (i.e. John Wayne), Bruce Willis has his trademark characters. In fact the 1990s and beyond bore the releases of several Bruce Willis action vehicles. Out of this selection my personal favourites are The Last Boy Scout, Mercury Rising, Hostage and 16 Blocks. An honourable mention to Striking Distance as well. At heart, John McClane is a lone Western hero, much like the characters The Duke played during his golden years. Similar to John Wayne, Willis easily got stereotyped and very rarely stepped out of his comfort zone. But Willis knew what his strengths were, and he played to them.

Also returning from the original film is Bonnie Bedelia as McClane's wife. Bedelia plays the part wonderfully. She is also given the opportunity to deliver amusing wisecracks. William Sadler is very one-dimensional as the villain. This fact lies in both Sadler's performance and in the way the character is written. His proper motivations are never made clear, therefore he's never anything more than a typical action movie villain. He's not nearly as compelling, charismatic or interesting as Alan Rickman's performance in the first film. Rounding out the cast are William Atherton, Reginald VelJohnson, Franco Nero, John Amos, Dennis Franz, Fred Dalton Thompson, and even Robert Patrick who appears very briefly (Robert Patrick will probably be most widely known as the T-1000 from Terminator 2: Judgement Day).

All things considered, Die Hard 2: Die Harder is a solid entry to the Die Hard canon. John McClane is the wrong man in the wrong place at the wrong time once again, and we're all happier for it. Die Hard 2 isn't nearly of the quality of its predecessor, but it never tried to be. Occasionally one will have to accept McClane's superhuman powers and indestructibility, and the film is very derivative of its forerunner in addition to being preposterous and absurdly over-the-top - but hey, it's never boring. The realism of the first entry is sorely missed, yet there is a sufficient offering to keep any action fan happy. You'll be entertained, you'll root for the good guys, you'll love watching the bad guys get their just deserts, and you'll have the immortal words of John McClane in your heart - "Yippee-ki-yay Motherfucker!"

Followed by Die Hard: With A Vengeance.

"Oh man, I can't fucking believe this. Another basement, another elevator. How can the same shit happen to the same guy twice?"

"Hot in here, or am I just scared to death?"

The first Die Hard instalment hit cinemas back in summer 1988. Produced by Joel Silver (whose name is also attached to the Lethal Weapon series and The Last Boy Scout, just to name a few), Die Hard set a new paradigm for action films. Gone was the indestructible hero capable of shooting his enemies with infallible precision while bullets magically skirted around him. In its place was an ordinary bloke who gets involuntarily entangled in circumstances that necessitate his heroics. Die Hard was also set in a claustrophobic location. This formula proved popular as it was soon applied to incalculable other action films including Air Force One, Passenger 57, Under Siege, and so on. Fox enjoyed the critical and commercial success of Die Hard, and within two years a sequel found its way into worldwide cinemas. Die Hard 2: Die Harder was an abundantly entertaining action film undermined by its utter implausibility and the exasperating affinity to the original film.

Die Hard: With a Vengeance is the third entry in the Die Hard series. There was a gap of five years between this third film and the earlier second film. These five years facilitated numerous things. For starters, the clichéd formula was modified and given a substantial spruce-up. The creative team realised yet another Die Hard facsimile would produce a mediocre sequel. So they adapted, and the plot was expanded into a buddy cop movie similar to the Lethal Weapon series.

John McTiernan (the man responsible for directing the original Die Hard) was brought back onboard as well. Naturally, Bruce Willis also agreed to reprise the role that made him a star. This third film also opted to eliminate much of the nostalgia aspect. The film's plot may have relevance to the preceding films, but returning characters are kept to a minimum. Die Hard: With a Vengeance is consequently a radically different addition to the Die Hard canon - but it's a good different and a change for the better. The claustrophobic setting is replaced with the far more expansive location of the city of New York.

In the opening scenes of the movie, a bomb is detonated in downtown New York City on a seemingly regular day. The mastermind behind this bombing identifies himself only as Simon (Irons). He contacts the police and informs them of his intentions to set off another bomb. He explains that another big bang will occur unless Detective John McClane (Willis) completes a number of set tasks. This instalment finds McClane on the booze, on suspension from the police force, and with his marriage in tatters. But he still dons his trademark vest, he's still handy with a gun and he's still wholly vulnerable. Anyway, McClane's first task takes him to Harlem where he meets Negro electrician Zeus Carver (Jackson). After Zeus becomes involuntarily intertwined in the state of affairs, he's forced to partner with McClane as Simon appoints them a number of tasks that take them around the city. The remainder of the plot is a series of contrivances to propel the terrible twosome of McClane and Zeus from one end of New York to the other (stopping in Canada of all places for the climax).

Die Hard: With a Vengeance is more destructive, more exhilarating and far more intense than the previous instalments. Yet it's still grounded in more reality than the second Die Hard entry. With a wider space for plot gestation, there are a wider range of possibilities for stunts and action sequences. Generic action film elements are added such as car chases, interesting arenas for shootouts, and general vehicle mayhem. Entire streets are blown up in sequences that stretch credulity almost past the point of breaking.

It should probably be noted that this is the most graphic Die Hard film in terms of language (about 90-10 f-bombs are dropped), violence, gory deaths (one guy is even sliced in half!) and even a brief sex scene. John McTiernan is of course at ease with the screenplay. He formerly helmed Predator and The Last Action Hero, as well as the first Die Hard film. He knows his way around an action scene, and he knows how to orchestrate this kind of action. Cinematographer Peter Menzies captures the action with consummate skill, making the action thrilling in its own right. As a result it's imbued with great energy. The definitive layers were added in post-production: John Wright's competent editing, Michael Kamen's impeccable music and the booming sound mix. Explosions and gunshots will give a speaker system one heck of a workout! And, of course, special effects are absolutely top-notch. As the digital age was slowly developing, there are a few CGI instances but they're not too noticeable. For the most part the special effects are quite seamless.

The original screenplay written by Jonathan Hensleigh wasn't meant to be a Die Hard film from the outset. When it was discovered that it could easily be moulded into the third Die Hard movie, re-writes commenced. Thankfully, there are plenty of wisecracks and amusing witticisms courtesy of John McClane's badass attitude. Bruce Willis plays the role with such ease that he improvised one-liners while the cameras rolled. The laughs are reasonably frequent and moderately droll. The searing chemistry of Willis and Samuel L. Jackson is off the chart. Their volatile attitudes generate very interesting scenarios. The film moves at an invigorating pace. It encompasses sufficient character development mixed with satisfying amounts of pure adrenaline-charged action: bombings, subway crashes, car chases and helicopter pursuits altogether creating the ultimate roller-coaster ride. While this description would usually fit any generic Van Damme or Steven Seagal action vehicle, Die Hard: With a Vengeance is cut above the pack. The intelligence of the first movie has made a welcome return. There are great unpredictable plot twists and clever set-ups. For an action movie it's fairly subversive.

Bruce Willis gives further weight to the argument that no-one can portray an action hero better than he can. The reason why we love John McClane so much is due to his attitude towards the situations he finds himself entangled in. Here's an interesting fact: the part of John McClane was originally offered to all the conventional 80s action stars. Stallone, Schwarzenegger, Van Damme, Seagal - they all had a shot. The beauty of casting Bruce Willis is that it avoids the clichés. Had it been one of these abovementioned names, Die Hard would have been a clichéd action ride that fell dead in the water after the first instalment. But they stayed away from conventions, and Willis immersed himself into the role perfectly.

Samuel L. Jackson is the ideal companion for Willis' John McClane. Jackson is a scene stealer and he rises above the material. Bruce Willis was reportedly unhappy about sharing the spotlight with Jackson. It's also been reported that Willis disliked the focus shift from lone ranger to buddy flick. Only really die-hard Willis purists (pun truly and absolutely intended) side with the actor.
Jeremy Irons is evil and sadistic and above all memorable as the villain. When it comes to Die Hard, a memorable villain is essential. His crisp European accent and interesting screen persona elevates him above the one-dimensional villain present in Die Hard 2: Die Harder. Even so, Alan Rickman remains unthreatened.
This time the cast is accompanied by such names as Graham Greene, Colleen Camp, Larry Bryggman, Anthony Peck, Nick Wyman, Sam Phillips and Kevin Chamberlin. These precise performances keep us engaged from the remarkable first frame to the last.

Die Hard: With a Vengeance opened a short time following a bombing in Oklahoma City. Needless to say, both critics and audiences were still shaken up from the bombings, and the film (although scripted, filmed and edited before the bombings took place) was treading on sensitive territory. It would be justified to state that viewers were unfairly harsh while watching the film for two reasons. Firstly, the Oklahoma City bombings affected them greatly. Secondly, this was a radically different Die Hard movie, exercising a different formula and a new batch of characters. Personally, I think this third Die Hard film is damn close to equalling the original. It only falls short due to its mildly sluggish pace at times. From time to time, logic is also the film's enemy (falling about 20 feet onto metal without a broken bone? I don't think so). Nevertheless this is excellent entertainment and a worthy film to sit under the Die Hard banner. It provides the rush of adrenalin, the witty one-liners, the exhilarating action and the outlandish stunt-work. It's an endearing, thrilling ride guaranteed to keep an audience on the edge of their seat.

Followed in 2007 by Live Free or Die Hard

"Listen, we got a report of a guy coming through here with, uh, eight reindeer." [shoots terrorists] "Yeah, they said he was a jolly, old, fat guy with a snowy, white beard. Cute little red and white suit. I'm surprised you didn't see him."

"All you gotta do is go pick up a kid down in New Jersey, and drive him down to D.C. How hard can that be, huh? Can't be that hard, now, can it? No, gotta be a senior detective. Think like a traffic jam, throwing a car at me's gonna stop me? Huh?"

THEATRICAL VERSION: 4/5


According to Bruce Willis, money wasn't the reason he agreed to return to the Die Hard series for this fourth entry...he just wasn't satisfied with Die Hard 2: Die Harder or Die Hard: With a Vengeance. The second Die Hard movie was highly entertaining nonsense, but it was fairly undercut because it replicated the original too often and there were too many utterly preposterous action scenes. The third, while almost on par with the original, altered the formula to create more of a Lethal Weapon style buddy action flick. Willis reportedly wanted to give John McClane a more fitting farewell. Live Free or Die Hard (known in other countries as Die Hard 4.0) thus entered pre-production.

From the outset Willis aimed to go back to the original formula of focusing primarily on John McClane and diminishing the humour in favour of pure action. In tradition with any action movie sequel, the film had to up the ante and push the envelope. This time the old-fashioned John McClane finds himself battling cyber-terrorism. While Willis wanted Live Free or Die Hard to be superior to the previous sequels (in an interview he even stated it was better than the first film), this is the weakest in the series. However, that's a fairly faint criticism. The film still supplies the action, it moves at a breakneck pace and it's wholly exhilarating.

Prior to the eventual release of Live Free or Die Hard, there were countless controversies and concerns. First of all, Len Wiseman was handed the reigns. While his Underworld movies were fun and action-packed, they were too digital...and the Die Hard series is anything but digital. Justin Long was another worry. This is the guy from the Mac commercials! Last but not least, the most significant controversy was this being the first Die Hard movie to receive a PG-13 rating from the MPAA. The previous instalments were rated R for good reasons: violence was severe, profanity was frequent, and bloodshed was graphic. The decision to dilute the content was because this was a summer blockbuster and it'd die at the box office with so many other PG-13 titles hitting the cinema. This proves that Hollywood studios no longer possess the balls or backbone to continue producing R-rated action flicks. I had reasonably low expectations for this film with the PG-13 rating in mind, though it didn't stop me from looking forward to it (especially with the incredible trailers, rave reviews and a temporary position on the IMDb Top 250). While this fourth Die Hard outing is a mild disappointment, it's still an entertaining action romp and a worthy film to rest under the Die Hard banner.

"You're a Timex watch in a digital age!


The terrorists this time are a group of hackers who begin a cyber-terrorism plot to systematically shut down the United States. We find John McClane (Willis) who has now passed his prime. He's long divorced and having trouble establishing a relationship with his daughter Lucy (Winstead). Now McClane works for the NYPD and occasionally does jobs for the United States Department of Homeland Security. On the eve of Independence Day, there's a breach in the FBI computer system. In retaliation the FBI wishes to interview all the most notorious hackers who could be capable of hacking their system. John McClane is contacted and ordered to collect a young hacker named Matt Ferrell (Long). This seemingly straightforward assignment results in McClane becoming entangled in the cyber-terrorism attack. It's a call of duty for McClane as he feels compelled to do whatever he can. Once again the FBI and the regular police force are useless, and the duties of saving the day fall to McClane.

Live Free or Die Hard is a straightforward summer blockbuster. There's an abundance of action to witness, and there's a lot of fun to be had. Needless to say, the action is extremely over-the-top. The over-the-top nature of the action is among the film's downfalls. One of the most controversial sequences was McClane battling an F-35 fighter jet while a highway collapses. It's an exhilarating sequence, but some of the CGI is somewhat obvious and similar to that of a video game. There's also a ludicrous scene during which McClane jumps out of a car that conveniently keeps moving at full speed and crashes into a conveniently placed helicopter. It's preposterous to extremes, but then again all the Die Hard films have their fair share of ridiculous moments. This is a film that was made to entertain, and it accomplishes this goal.

I'm pleased to report that the traditional shootouts are both exciting and energetic. The first shootout (in Matt Ferrell's apartment) is simply thrilling to watch. Arguably the best action scene of 2007 is also present in this movie: a helicopter pursuing guys on the street. A car chase ensues. It's pulse-pounding and exciting. When this sequence concludes with a car crashing into a helicopter it may be preposterous but it's a practical special effect. Normally, in this digital age, heavy CGI would be employed. This is not the case. For relying on stunt-work and practical explosions, the creative team deserve to be lauded. There's also a scene in an elevator shaft that'll have you on the edge of your seat. Len Wiseman lacks the flair of John McTiernan and Renny Harlin, but for a young and moderately inexperienced lad his efforts are commendable. However, the directing/editing collaboration at times is appalling. Painfully obvious ADR (popular theory is that these scenes were profanity-laced but had to have new dialogue recorded to obtain the PG-13 rating), close-ups not matching long shots, continuity looking utterly messy, and so on. For such a modern action movie, I never expected to witness this low standard when it comes to editing.

"Another day in paradise.


In tradition with the rest of the Die Hard series, the special effects are (for the most part) absolutely terrific. A lot of stunts and practical effects are employed with remarkable results. And of course, no Die Hard flick is complete without the customary tense music and spectacular sound effects. This is the first instalment in the series without the music of Michael Kamen. Instead, young composer Marco Beltrami was brought onboard. This was subject to further worrying, but Beltrami's efforts are incredibly effective. The trademark Die Hard music is frequently employed. This music raises the tension when it wants to, and gets your heart racing during the action.

Mark Bomback has constructed a surprisingly terrific script. To be honest, I never expected this guy to produce anything worthwhile. Bomback did write that turkey known as Godsend, after all. Despite his previous bombs, Bomback mixes classic McClane wisecracks and witticisms with enjoyable scenarios. McClane's sarcasm, wit and hilarious remarks are continual. Other characters are also given legendary, quotable one-liners.

It's been twelve years since Die Hard: With a Vengeance, yet Bruce Willis is capable of slipping into the character of John McClane again with ease. He's a much older and more mature McClane, but at heart he's still the action hero we all know and love. It's a shame he wasn't given more f-bombs to drop, though. This is among the script's shortcomings. But Willis is in good shape: he's still handy in close combat, he's still dexterous with a gun, and he is still an utter badass. In fact, despite the diluted violence there is still a lot of killing. There isn't much blood, but McClane is brutal and efficient in dispatching enemies. Naturally, McClane is still a hero who's easy to root for. This time he has found no solace in a life of being a hero. It must be said that McClane's occasional superhuman capabilities are somewhat distracting, though, especially towards the end. Thankfully it's still fun and exhilarating.

Justin Long is McClane's sidekick for this adventure. A young actor famous for Mac commercials, I hear you ask? Fear not. Long has done everything the script called for him to do. He offers a very believable character.
Timothy Olyphant was endlessly criticised for not being as sinister or as evil as the other villains in the series. Truth be told, he's probably a little underwhelming. Nevertheless, his character is a disgruntled government worker who goes postal on the system he helped design. Being more sinister would have made his character far less realistic in my opinion.
Mary Elizabeth Winstead appears as John McClane's daughter. Not only is Mary a great actress, but she's quite hot. As Mary is playing McClane's daughter, she's also feisty and witty.
Other additions to the cast include a very memorable Cliff Curtis and a slick Maggie Q. Jonathan Sadowski and Cyril Raffaelli are also terrific. Then there's Kevin Smith as an overweight hacker literally still living in his mother's basement. Smith is a delight to watch.

Live Free or Die Hard scratches an itch that needed scratching. Over the course of the past 10 years, the traditional shoot 'em up action flick morphed into something else. Something...lamer. Take The Mummy and its sequels. Or anything Tony Scott has done lately: style over substance plagues the frame, with the shaky cam/fast cutting syndrome dominating modern action films. Die Another Day was widely criticised by audiences, and regarded as the worst Bond in history for the overuse of digital effects instead of miniatures or more practical effects. If everything is digital or incomprehensibly filmed, it feels like there's less danger. CGI these days barely enhances...it overwhelms to the point of distraction. You have to be a really talented director to pull off a CGI fest. Len Wiseman is the right man in the right place. Despite the Underworld films being the worst offenders of cheesy CGI, he wisely eschews his big bag of digital tricks for Live Free or Die Hard. He goes old school; making use of stuntmen, real exploding cars and extensive sets. This is a movie a little out of touch with modern times and frankly it's a breath of fresh air.

Live Free or Die Hard is the weakest in the Die Hard series, but by no means is it a terrible movie. There's so much creativity being offered in the scenarios, characters and one-liners. Cyber-terrorism is also a potent issue in this digital age, thus creating an interesting premise. This is a summer flick, and a damn fine summer blockbuster at that! The action never slows down, the suspense keeps building and the wisecracks keep coming. It's competently made as well. There are shortcomings, such as the ridiculously over-the-top action sequences, the crummy editing and the lack of genuine Die Hard content...but it doesn't matter. This is a beer and pizza/popcorn event. It exists to entertain, and it does that. It's by far one of the most solid action movies of the 2007 summer season. I loved it! The film was later re-edited in and uncut version (reviewed below).

UNCUT VERSION: 2.5/5
I'll be frank: my disappointment with the watering down of Live Free or Die Hard was the equivalent of being depressed following a death in the family. The latest plague affecting contemporary action films is the acquisition of the PG-13 rating from the MPAA to secure as much money at the box office as possible. I was unreservedly devastated when I learnt that the long-awaited Die Hard sequel would have the proverbial hardcore violence and foul language diluted for the attainment of a PG-13 rating. Understandably, I was therefore extraordinarily excited when I learnt of the uncut version. I never thought I'd ever say this...but give me the theatrical version any day!

This uncut version merely includes about twenty obviously dubbed swear words and a few shots being touched up with terribly fake CGI blood. There are a few instances when the swear words were genuinely spoken on set, but too often were there occasions when it's painfully obvious Bruce was just thrown into a dubbing booth and asked to swear as frequently as he could. Had the filmmakers lensed a reasonable quantity of practical blood effects and alternate takes that included profanity, this film could be damn close to rivalling the first Die Hard. As it is, this uncut version is a colossal disappointment.

The editor could have at least just inserted all the genuine f-bombs, leaving out both the dubbed f-bombs and the CGI blood, as that would have been the best edit. Furthermore, while I watched behind-the-scenes footage I realised Bruce Willis did a number of alternate takes. These extra lines never made it into this uncut version when they'd fit perfectly. It's infuriating that this uncut version also removed two of the greatest lines from the theatrical cut. One of these lines was replaced with something inferior; the other line was replaced with nothing at all. And the theatrical version suffered from numerous obvious moments of shoddy ADR. It seemed to me these shots were probably originally laced with profanity and would be restored for this cut...but these moments all remain exactly the same. It looks like the editor spent 10 minutes putting together this hack-job. It occasionally looks like a dodgy TV edit!

This is a wasted opportunity...pure and simple. If Fox gave me the entire cast, a few sets and a camera crew for a few days, I could definitely produce a worthy R-rated version. Heck, if I was given access to all the raw footage and an expert editor to give me a helping hand, I'd also be able to produce a more worthy version. Fox deserves a letter bomb for this!
As an uncut version, this deserves a dismal 1.5/5 rating. It isn't a total disaster as it's great hearing John McClane using the term "motherfucker" again (when it was spoken on the set, that is). As a standalone pic it warrants a 3.5 star rating simply because the suspense and tension is still there, as is the awesome action and the clever scenarios. All in all, this is a missed opportunity.


"Fuck being a hero. You know what you get for being a hero? Nothin'. You get shot at. You get a little pat on the back, blah blah blah, attaboy. You get divorced. Your wife can't remember your last name. Your kids don't want to talk to you. You get to eat a lot of meals by yourself. Trust me, kid, nobody wants to be that guy."

"I could have killed 'em all, I could kill you. In town you're the law, out here it's me. Don't push it. Don't push it or I'll give you a war you won't believe. Let it go. Let it go."

Because of Sylvester Stallone's reputation as being the tough, unstoppable action hero (an image painted in films like Cobra, Cliffhanger, and all the Rambo sequels) people have immediately type-cast Stallone as a luminary of the 80's action genre who can't act and doesn't display much depth.

First Blood is something far from a brainless 80's action ride. In fact, it's one of Sly's most intelligent films. Before Rambo the only recognisable action hero would be someone like James Bond; a man who always stays calm and never seems to display any real vulnerability. The character of John J. Rambo is the most unconventional action hero of all time. Rambo shows that he is not invincible - he bleeds, he screams, feels pain and has emotions. This is different to the character featured in the novel by David Morrell of the same name; but in my honest opinion I felt this was a more human image, hence a change for the best.

John J. Rambo (Stallone) is a disillusioned Vietnam vet who has become a drifter eschewed by a prejudice society. Rambo is an ex-Greet Beret and a medal of honour recipient. On a journey to visit an old Vietnam buddy he drifts into a small town where he is made very unwelcome by the local Sheriff Teasle (Dennehy) who doesn't accept drifters in a town that he rules with an iron fist.

Rambo comes into the town looking for something to eat, instead he is turned away. He is arrested for resisting his unwarranted mistreatment. Beaten and humiliated, Rambo utilises his skills to escape and flee into a neighbouring forest where his one man war commences...on his own terms. Using his extensive knowledge of guerrilla warfare and setting traps, the local police force have no idea what they are about to walk into.

First Blood is an unconventional entry to the 1980's action genre; instead of frequent violence and a high body count we instead are shown an engaging, absorbing character study of a man who is pushed over the edge. Rambo is mentally unstable and is still haunted by his Vietnam days. Flashbacks are triggered when he is given nothing but unprovoked treatment from the police.

Unlike most action films, First Blood develops the characters and doesn't focus on the action. Rambo does not want to kill someone unless absolutely necessary. Even after being treated so badly by a discriminatory society he does not wish to start mindless killing and violence.

Stallone is John Rambo. There is no-one else who could possibly play the role. It's like Harrison Ford as Indiana Jones or Bruce Willis as John McClane; a replacement would be futile and offensive. Stallone's muscles aren't exaggerated or bulging. He is a trim man with innocent facial expressions that tell his story. For most of the movie he says very little dialogue; instead staring at someone or yelping in pain. His final monologue is one of the most poignant few minutes of any action movie. It has heart and it helps us empathise with the character. If someone can find an 80's action movie featuring Van Damme or Dolph Lundgren that has heart or soul I beg you to recommend it to me.

Richard Crenna is a fantastic patriarchal figure who was once Rambo's mentor during Vietnam. Crenna's performance is also heart-felt and further allows us to get engaged in the spellbinding personality of Rambo.

The filmmaking in every aspect was fantastic. The lush scenery of the forest gives one the feeling of isolation. And it feels like just your average common town that Rambo finds himself drifting into.

Action scenes were accompanied with taut direction and a riveting score by Jerry Goldsmith. Goldsmith's score is outstanding. The Rambo theme is poignant and powerful. When there's an action scene the music is intense and engrossing. The audience are compelled to keep their eyes ardently glued to the screen. You won't want to miss a second.

First Blood is one of the best 1980's action films that is a perfect vehicle for Stallone to display intensity and aptitude as an action hero. I always find myself captivated and mesmerised, as well as highly entertained. The credibility is sometimes thrown to the wind which is the only drawback on an otherwise superb production.

Even if you're not a fan of action movies, First Blood is a must see movie that cannot be missed. Followed by 3 sequels.

"You know what you are. What you're made of. War is in your blood. Don't fight it. You didn't kill for your country. You killed for yourself. God's never gonna make that go away. When you're pushed, killing's as easy as breathing."

It's been a long time since the decade of the 80s concluded. This was a decade when action films were ripe and extensively successful: they were brutal, violent and entertaining. In the era of contemporary action movies, violence is commonly diluted to accomplish a docile classification appropriate for a mainstream audience. Action lovers desired more...they were sick of the childish, watered-down violence being portrayed. When an aging Sylvester Stallone announced the creation of a fourth Rambo movie, his objective was to resurrect the classic gratuitous violence merged with scenes infused with utterly incredible action. Stallone acknowledged what his fans sought after. Thus when he produced the fourth adventure for the illustrious John J. Rambo he wasn't making it for box office receipts, he wasn't making a film that would be hailed by critics...Stallone was making a movie purely and genuinely for the multitude of fans that yearned for the return of old school, over-the-top, hardcore action violence that was once so prominent in the 80s. On this guarantee he delivered. He delivered perfectly.

Stallone was commended when he wet the appetites of his fans, and the first trailer for Rambo (at that time entitled John Rambo) was distributed over the internet - this was a red-band, uncut trailer that displayed several incredible minutes of hardcore violence as graphic and realistic as Steven Spielberg's Saving Private Ryan. Hordes of fans were already aching to see the final product because they distinguished that Stallone had completed his job correctly. Of course, the critics severely panned Stallone's Rambo - they labelled it as pointless, pure action porn. On the other hand, the audiences received what they had expected and applauded Stallone for his relentless images of war. The writer/director/star did not succumb to the watered down violence for juveniles, and for that he gained loads of respect. The man returned action to its roots: interesting characters, witty lines, classic formula and lots of violence. The character of Rambo is also returned to his roots: not much dialogue, instead using facial expressions to tell his story. Even more impressive is the lack of clichés. Sure, the whole film is structured using the old formula. But there is no love interest despite the presence of a female, there are no dumb characters that have little faith in the hero, and there are no futile set-ups for elaborate deaths. In fact, the action scenes are scattered sparingly across the film's running time. For a man over the age of 60, Stallone deserves nothing but commendation and admiration for his persistence and ultimate success.

The film finds legendary troubled Vietnam veteran John J. Rambo (Stallone) living a secluded, inconsolable life in Thailand. Rambo has left his past behind him, instead indulging in the undemanding career of a snake wrangler. Rambo currently resides just downriver from the appalling genocide unfolding in nearby Burma. He is approached by a group of Christian missionaries, lead by a man named Michael (Schulze). These missionaries implore him to assist in taking them upriver into Burma. Although reluctant at first, Rambo agrees to take them into the chaos that has been the site of genocide for many years. Following the apprehension and incarceration of the missionaries by the fierce Burmese military, their church are informed and become determined to save them. The pastor of the church hires a group of mercenaries to travel into Burma to extract and rescue the innocent Christian missionaries. John J. Rambo dons his head-band and comes out of retirement one last time to battle the malicious Burmese soldiers in the thick jungle...the landscape in which Rambo was trained to battle.

Screenwriter Stallone takes his time building up to the action sequences. The film's first half sets up a plot that exists before diving into a world of utter chaos and incredible action. For authenticity in its depiction of the Burma, Stallone decided to dedicate the film's opening sequence to a montage of actual newsreel footage portraying the atrocities that are occurring in that part of the world everyday. Throughout the film's first half, we are incessantly shown the genocide that continues to unfold as the military choose new target villages with each new day. Stallone announced in an interview that he wanted the fourth John Rambo film to be about something...about humanity and its current state. Thus, he dives head first into the site of the longest running war in the world. Stallone handles the material with style: his uncompromising representation of Burma is gritty, brutal and horrifying. Rambo masquerades as an action/adventure film when in fact it's also a film that spreads awareness of the Burmese situation. By portraying the area using so much graphic violence the audience therefore considers the situation with greater scrutiny. The critics that despised the film so much simply do not understand the film. It's their loss.

Even at a ripe old age of 61, classic action icon Sylvester Stallone still has it in him. I do not care for those who find ease in insulting the man due to his HGH scandal in 2007. People's judgments on actors sometimes taint their image on the certain actor's films. If you're seriously avoiding this film because you believe Stallone is on steroids then it's impossible to take your cinematic views sincerely. Julie Benz is a superb member of the supporting cast. She plays a Christian missionary named Sarah. She is not a love interest so to speak, although Rambo does jump through hoops for her. But it's not because Rambo has taken a fondness for her and is looking for a lay - Sarah has profoundly touched his soul, and has allowed him to heighten his faithfulness towards humankind. Rambo is happily oblivious to world events because he's living a life of desolation, until Sarah opens his eyes to the capability of one human life. Also in the cast there's an ideal bunch of actors portraying the mercenaries who travel into Burma. There are some great lines of dialogue for all of them to deliver.

Rambo is also equipped with homages to the previous films, including a dream sequence depicting a montage to remind the audience of Rambo's past, and music that suitably mirrors Jerry Goldsmith's original score. The music present here is astounding. When powerful atrocities are being showcased there's a profoundly, deeply moving score to accompany the visuals. Sometimes the touching music will bring you to the verge of tears. If something like that is present in a pure action movie then the filmmakers have completed their objective. Also worth noting is the film's sound mix. The ambience of the Burmese jungle is captured wonderfully...all the gunfights and explosions sound spectacular. It's easy to become engaged in the action with such amazing sound effects that all sound natural.

Overall, Rambo is a perfect way to bring the infamous action hero full circle. We find the character returning to his roots and returning to a life he once knew before experiencing an unplanned turmoil in First Blood. Stallone reminds his fans that he is still here and ready to work despite his age. After striking such triumph with Rocky Balboa, another of his characters has been brought to a wholly satisfying conclusion. Of course, this film is far from perfect. It's very formulaic, but all audiences just love cheering when they witness the bad guys getting their comeuppance in brutal, satisfying ways. The intelligence of First Blood also lacks (like Rambo setting traps and ambushes, etc); however it would be hard to imagine the character pulling off elaborately planned traps at his current age. Rambo is solid, top-notch entertainment. It's incredibly awesome, absolutely entertaining and very realistic. The gore factor is, at times, astounding! Stallone promised to dish up violence that the action genre hasn't birthed for decades. He succeeded beyond all expectations. Despite the negative reviews from the critics, I wholly enjoyed Rambo and will continue to do so with each new screening. If you're looking for a good old-fashioned action movie full of realistic violence and gore then it's time to visit the latest adventure of John Rambo. This is an action film masterpiece!

"Guns don't kill people! But they sure help."

It is with much confidence that I can state that during my numerous years of viewing movies, never before have I beheld an action film's opening sequence tagged with a hero dispatching a villain by penetrating their brain with a carrot, delivering a baby during an intense, chaotic gunfight, then severing the baby's umbilical cord with a bullet before a rather comical profanity exchange using neon lights. If you're incapable of discerning what this film is about after reading the title and the opening sentence of this review...then you're in trouble. Shoot 'Em Up is a straightforward satirical addition to the action genre. For its entire 80-minute duration, writer/director Michael Davis has crafted a masterful action flick overflowing with silly over-the-top violence and ingeniously witty (hilarious) one-liners.

You know what the difference is between Shoot 'Em Up and an action film from the mind of someone like Uwe Boll? Shoot 'Em Up is a great bad movie...while Uwe Boll produces plain unadulterated bad movies! Boll is somehow so incredibly self-deluded that he sincerely believes he's creating an artistic and inspiring piece of celluloid, and that he's an "industry genius". Truth be told, Boll's films such as BloodRayne and Alone in the Dark are dull and uninspiring beyond all comprehension, not to mention they are also among the worst pile of faeces ever to be committed to film. On the other hand, Michael Davis' Shoot 'Em Up is completely 100% self-aware that it's a noisy, stupendous, over-the-top, leave-your-brain-at-the-door bullet-fest...and it's proud of it. It also only aspires to provide a simple fun time without taking itself seriously at all. This is why I can consciously enjoy Shoot 'Em Up and grant it an emphatic thumbs up, while absolutely detesting creations from filmmakers such as Rob Cohen, Uwe Boll or Michael Bay.

Immature, irresponsible, dumb and insane are just a few words to accurately describe Shoot 'Em Up. It's a film lacking a meaty, cohesive narrative, and it exists merely to exhibit a dozen or so outrageous, awesome action sequences. Astonishing violent and astonishingly stylish, this film is exhilarating fun! It's even complete with a blaring soundtrack featuring Wolfmother, Motörhead, AC/DC, and various other artists. Furthermore, our hero continually munches on carrots throughout the film's duration. The first time we see Clive Owen as tough guy supreme, chewing a carrot at a bus-stop, we know he means business. And yes, there are the obvious Looney Tunes references such as "What's up doc?" followed by "You're a wascally wabbit!". Davis probably inserted these references to remind the audience of the old-fashioned cartoon violence from the Looney Tunes shorts, as it's the kind of comic violence presented in this film.

While the film is primarily about action, it has its fair share of clever one-liners. For example, Paul Giamatti's Mr. Hertz is forever on the phone to his wife.
"You know why a gun is better than a wife? You can put a silencer on a gun."
Clive Owen is also given a number of notable moments, such as when he describes himself as "a British nanny, and I'm dangerous".
In the long run, Shoot 'Em Up is a whole lot of shootouts, sex scenes, and even a shootout during a sex scene. At one stage there's even a shooting gallery, with little time to breathe except for when the characters are reloading. Thankfully, though, Michael Davis has learned to shoot his shootouts (pun intended) in the best kind of style: so that we know what is actually going on (take notes, Michael Bay). In the long run, the film is an extended gun-battle with a concise running time that leaves you hungry for more.

It seems almost redundant to outline the plot. After all, if you watch a film with the title of Shoot 'Em Up searching for plot and thoughtful dialogue...you're in the wrong place.
More or less, the film follows the carrot-chomping, gun-touting Mr. Smith (Owen). Smith is a tired, apathetic bystander who witnesses a pregnant woman being pursued by gunmen. He reluctantly intervenes and gets in on the action. The woman gives birth to a child (during an intense gun battle) before getting killed in the cross-fire. Smith feels compelled to protect the newborn, and recruits lactating hooker girlfriend Donna (Bellucci) while the vicious Hertz (Giamatti) is on the hunt with an army of gunmen. Meanwhile, as Smith eludes Hertz's men, he tries to figure out why the tot was targeted and endeavours to fathom the full extent of what he's got himself into.
The film opens with the New Line cinema logo being shot to bits...it's an indication of things to come. The proceedings get underway when Smith gets entangled in a large-scale gun battle with deafeningly raucous music accompanying the extremely violent visuals. Needless to say, it seldom lets up for meaningful dialogue or a fleshed out story.

Clive Owen is excellent as the title character. Having this rugged, handsome hero in the film really elevates the overall value. Granted, Owen is at times quite wooden. But it's the point: he's a dead-pan character who shows little emotion no matter the circumstances. Like when he's in the middle of sex, he's interrupted by a bunch of hooligans with guns. Still pleasuring his girl, he grabs a pistol and begins rolling into strategic positions with bullets whipping around him. Never does he look remotely scared or threatened. After dispatching said gunmen, he casually remarks "Talk about shooting your load."
Paul Giamatti could be the greatest action movie villain since Alan Rickman as Hans Gruber in Die Hard back in 1988. Giamatti has witty dialogue to deliver and is oozing charm throughout. He's a pleasure to watch for every frame of his screen-time.
Monica Bellucci is angelic and seductive as the lactating prostitute. Her introductory scene shows her breast-feeding an adult male. This establishes her character very fittingly.
The acting from most of the supporting cast is pretty standard. Then again, this is just a straightforward action film where the grunts are dispatched within a few seconds of their introduction...so don't expect Oscar material.

As previously stated, Shoot 'Em Up is unreservedly self-aware that it's insane, ridiculous and definitely not a movie to be taken seriously for a split second. So, logically, it disregards the requirements of physics, character depth or coherent plotting all for the sake of having some fun at whatever the cost. The action scenes are deliberately as idiotic and unfeasible as you can imagine, but they're so exaggerated that there's always a sense of humour. This reminds you that you should be smiling instead of sneering.

If you can ignore the fact that the world of physics is completely overlooked here, you shouldn't have any difficulty going along for the ride. This is what makes Shoot 'Em Up such a fun flick. The shootouts are so outrageous and will have the audience laughing and cheering at the preposterous proceedings. Furthermore, the filmmakers have purposely made the special effects look awful. The sky-diving action scene is so ridiculous and looks so unbelievable that you can practically see the green screen. It's the point! Or when Smith's car flips over, then flips upright again and he isn't even scratched. The internal logic is meant to be nonsense. On these merits, Michael Davis has scored a winner. For its entire 80-minute duration it's a total blast! It's a bloody good, entertaining, nonsensical low-brow satirical take on the action genre. Lighten up, leave you brain and common sense at the door, and you'll have a great time! For those that hate the film...remember that it's supposed to be a completely stupendous, silly flick and it's 100% proud to be as such!

"He knew the risks, he didn't have to be there. It rains... you get wet."

Heat is an absolutely stunning film; this epic, brilliant crime drama is unmissable and unforgettable.

Many will lose interest due to the film's length, but I found the film essentially perfect despite the running time.

First of all, Robert De Niro and Al Pacino in the same movie. These are two of the best actors on the planet, and both are in top form. The script (written by director Mann) is nothing short of remarkable. The dialogue is always witty, realistic, and is never contrived. The actors further cement this realism in an amazing way.

Mann's direction for every second of the movie was stunning. The way Mann approached this movie was destined to equal excellence. First of all, he penned the damn fine screenplay himself and thus knew what he wanted on screen. Second, he employed incredible cinematographic techniques to achieve his vision. And finally, he knew what actors he wanted and was not going to stop until the result is exactly the way he wants it. Even a dialogue scene between De Niro and Pacino can sustain interest in the viewer without showing any action.

Neil McCauley (De Niro) is a thief who indulges in precision jobs along with his team of professionals. After the robbery of an armoured car, the police are now investigating. Vincent Hanna (Pacino) leads the investigation. Hanna is a master at his profession, and McCauley is at the peak of his.

This epic crime film then becomes a game of cat-and-mouse as Hanna works to bring McCauley to justice. In amidst this, we have plenty of time for a character study as Mann digs in-depth into the private lives of the protagonists.

And of course, the occasional action scene is both spectacular and incredibly violent at times. The action scenes are crafted to perfection, with cinematography that blew me away.

De Niro and Pacino share very little screen time together, but when those two are in a scene together the results are unbeatable. The memorable scene at the diner between De Niro and Pacino is something we rarely ever see in a movie - great script, great direction, great performances. And the final showdown isn't your usual "good guy/bad guy" showdown but something a lot deeper.

The highlights of the movie include magnificent cinematic techniques during the few action scenes, and the wonderful performances from everyone in the cast.

Michael Mann's Heat is absolutely unmissable. This epic crime story is most definitely one of the best movies ever made. If you have not yet seen it, I urge you to get a copy of this film in your hands immediately.

"For nearly three thousand years man has been searching for the lost ark. It's not something to be taken lightly. No one knows its secrets. It's like nothing you've ever gone after before."

The Indiana Jones films became the most influential adventure films in cinematic history. The films made their mark on the genre and still influence the way adventure films are made to this day. What's the allure of the series? Put rather simply, all the Indiana Jones films impeccably merge action, exhilarating adventure, dazzling locations, marvellous humour and a mixture of great characters. Raiders of the Lost Ark is the first instalment in the highly acclaimed Indiana Jones series, and still the superior film. The elegance and class of this movie is so far unrivalled and unsurpassed even after several decades.


Set in 1936 on the eve of World War II, Dr. Indiana Jones (Ford) is a renowned archaeologist and a famed adventurer. Jones grows tired of lecturing students at a university; instead he adores trekking through the jungle touting a whip and a gun while searching for ancient artefacts. After an incredibly memorable opening sequence set in Africa, Indy is hired by the United States government to investigate the possible existence of the 'Ark of the Covenant'; an ancient relic that appears to be the cause of strange doings by the Nazis. Indy is pitted against rival archaeologist René Belloq (Freeman) who is also searching for this illustrious ark that has been nothing but myth and legend for centuries.


This fascinating story is merely the beginning as the film rapidly moves to numerous different locations around the globe from Nepal to Cairo.


Harrison Ford is unreservedly perfect for the principal role of Indiana Jones. Ford possesses that certain look about him that suits the role of both an adventurer and a professor. His dialogue is delivered extraordinarily, and his on screen magnetism is one of the film's highest points. Ford has all the wit and appeal: the character of Indiana Jones is the essential embodiment of an adventure hero that encompasses all the qualities and the charisma that makes him one of the best action heroes of all time (as voted on several occasions). Ford is partnered with the equally charismatic Karen Allen. Playing Indy's love interest, this isn't the usual clichéd damsel in distress who can't fend for herself. On top of this there's a remarkable performance by John Rhys-Davis, and unforgettable performances from both Paul Freeman and Ronald Lacey.


Steven Spielberg's direction is magnificent. This focused directing and the lavish cinematography are qualities rarely seen in contemporary adventure movies. I particularly loved the old school effects and the elaborate sets. With such gorgeous images on the screen for every second of the film's duration, it effectively moves from one memorable scene to the next.


The opening artefact hunt is still my favourite film opening of all time. Not to mention all the other memorable scenes - the bar fight, the plane scene, the snake pit, the truck chase, the ship battle, the final showdown...it's impossible to spot a dull second amongst the action and adventure. The outlandish stunts are a requirement for an adventure film of this calibre. The filmmakers deliver a never-ending supply.


The film is only made better by the accompanying exciting music by John Williams. The classic Indiana Jones theme is still my favourite movie theme of all time! The exhilarating action is only made better by the triumphant, invigorating music.


The special effects delightfully hold up even after all these years. With filmmaking technology forever advancing I am pleased and happy to see such terrific old school effects that still look mighty impressive.


When I was a youngster I remember watching Raiders of the Lost Ark on various occasions. The first three Indiana Jones films were an essential part of my childhood. Now that I've aged and matured I still love these original three films tremendously. This is unquestionably one of the best movies of all time! Followed by several sequels beginning with Indiana Jones and the Temple of Doom (this is actually a prequel).

"Nazis. I hate these guys."

Indiana Jones and the Last Crusade is the third, but not final instalment in the legendary Indiana Jones series. The first film is still one of the best movies in cinematic history, with the second film grossly incapable of recapturing the charm and appeal of its predecessor. This next Indiana Jones adventure is the best sequel thus far. The filmmakers have almost equalled the brilliance of the first flick. Just like the original movie, Indiana Jones and the Last Crusade is a faultless blend of action and adventure with intrigue and romance thrown into the mix.


The opening sequence is always a pivotal part in the success of these movies. In this case the film opens with a prologue that traces the roots of Indy as we now know him. This prologue digs into his fear of snakes, delves into why he has a scar on his chin, the reasoning behind his passion for relic hunting and how he came into possession of his trademark items. This prologue also serves as an artefact hunt that acts as a bridge into the main plot.


Everyone's favourite treasure-hunter-come-professor Indiana Jones (Ford) whips back into action with a hunt for yet another ancient relic. Indy is taken to meet a wealthy ancient relic devotee named Walter Donovan (Glover). Walter explains that recent discoveries have been made that may possibly point to the locality of the Holy Grail - the cup Jesus Christ theoretically drank from at the last supper. Indy is also informed that the project leader has gone missing; said leader is none other than Professor Henry Jones Sr. (Connery), Indy's father. With his father's Grail scrapbook in his pocket, Indy heads to Venice in search of his father. The adventure then moves to Germany during the height of the Nazi regime. It then becomes a race against time as Indy and his father scramble to find the location of the Holy Grail before the Nazis get there first.


Indiana Jones and the Last Crusade is of course filled with endless action and excitement. Just like Raiders of the Lost Ark this film is a myriad of now memorable scenes. Some of these unforgettable scenes include a desert scene with a large tank, Indy inadvertently getting the autograph of Adolf Hitler, avoiding a nest of rats in the catacombs underneath a library, a battle in the air and a great scene set inside a German blimp.


Harrison Ford is every bit as charming and appealing as he was when the series commenced in 1981. Ford is always fit for action and is given a plethora of clever lines to work with. The casting department of these films will endlessly receive compliments and recognition for their superb choice of actors. Sean Connery is perfect in the role he was born to play. Formerly playing the role of James Bond, Connery is an absolutely ideal choice. The chemistry between Ford and Connery never feels at all contrived. The two feel like a genuine pair of father and son. More appraisal for the casting department as the rest of the supporting cast is equally remarkable. Denholm Elliot, John Rhys-Davies, Julian Glover, Alison Doody...they are all outstanding.


No Indiana Jones film is complete without the brilliant directing from Steven Spielberg and the exciting music from John Williams. Composer Williams excels himself with the music in this film. There is plenty of action accompanied with a perfect score. The special effects still look elegant and hard to fault. I adore the use of old school effects. In this case everything is done practically and all special effects objects actually have a screen presence. The cinematography is also a major stand out with this film as well.


Indiana Jones and the Last Crusade satisfied my every requirement in an adventure movie. Loads of action, plenty of witty dialogue, well conceived characters and a high level of excitement. Many have tried, but no-one can ever match the brilliance of the Indiana Jones movies. They don't make movies of this elegance anymore. Followed 19 years later by Indiana Jones and the Kingdom of the Crystal Skull.

"Hasta la vista, baby."

The second Terminator production has been widely regarded as better than the first. I do disagree with that statement, but I most certainly enjoyed this sequel.

Terminator 2 now follows Sarah Connor (Hamilton) and her teenage son John (Furlong). It has been many years since the events of the first movie, and the machines in the future are now trying to kill John Connor once again. This time a more advanced, shape-shifting T-1000 (Patrick) is sent to do the job.

Schwarzenegger is now the protector, and has been sent back in time to ensure John Connor survives the fight the war. For me, this was the film's biggest disappointment. I preferred Arnie as the villain rather than the protector. Because of Arnie's physical appearance he's much more nefarious and unforgettable as a cold killer who says very little. Instead he talk a lot, shoots a lot, and even smiles. But this more human approach destroys the image of Arnie from the first movie, in my opinion.

But that's not to say that Robert Patrick wasn't good as the T-1000 - because he was exceptional - but Arnie made a more memorable villain.

The special effects are absolutely out-of-this-world considering the age. Because the T-1000 is 'liquid metal' and can transform his limbs into different shapes, it had to take some amazing CGI to make it look real. Cameron achieves this beautifully. With each new film, Cameron sets the bar higher in terms of new influential technology and special effects.

And the action in this movie is first-rate. Overall, Terminator 2 is no-where near the quality of the first movie. That said, the film is intrinsically great entertainment and cannot be missed.

"I haven't seen Berlin yet, from the ground or from the air, and I plan on doing both before the war is over."

John Sturges' The Great Escape is debatably the greatest World War II adventure film in cinematic history. Multitudes of film buffs will collectively agree that Sturges' classic action/adventure masterpiece is highly deserving of its reputation, everlasting acclaim and endless accolades. Through my eyes, The Great Escape is a rare film that undoubtedly justifies a score exceeding 5/5, 10/10 or 100%.

In the 21st century, blockbuster action films are characterised as cinematic creations flaunting masses of CGI and an abundance of action. Back in the 1960s, films such as this were the paradigmatic definition of an epic blockbuster. It's also a definitive blueprint of an action/adventure movie. Although many may not realise it, this production certainly is an action film. It's just gruelling to categorise it as such in light of recent action films like Rambo and Face/Off where things are blown to pieces and bullets are frequently dispatched. With The Great Escape it isn't the quantity or regularity of the action, it's the quality. Motorcycle chases, tense escapes and nail-biting foot pursuits are among the film's highlights.

How does one ascertain that they're watching a great film? Personally, there are two factors that typify a great movie. Firstly, you never get sick of it regardless of how many times you watch it. Secondly, the running time never feels as long as it actually is. The Great Escape clocks as a whopping 170 minutes yet it never feels that long. It's a lengthy saga for sure, but the excellence of the filmmaking and the brisk pacing never permits the audience to feel bored. Although made in 1963 (45 years ago at the time of writing this review), John Sturges' war epic has stood the test of time. While watching the movie, the transfer indicates that it's an old movie. However, the filmmaking is top-notch and every frame is lovingly crafted. Not to mention the high level of authenticity in the period depiction. These factors are rare occurrences in contemporary filmmaking. To be sure, some things have dated and there are a few anachronisms. These insignificant imperfections simply do not matter and can be easily ignored. Why? The filmmaking is masterful, to the point that everything else stands up during close scrutiny. This cinema master class is virtually impossible to match these days, not to mention effectively impossible to top.

The Great Escape is based on a true story of a truly remarkable and inspiring war tale. It's based on an escape that occurred in March 1944 during which 76 POWs escaped from a German POW camp, Stalag Luft III in Poland. The elaborate preparation and extraordinary implementation of this escape is truly mind-boggling and unbelievable...it must be seen to be believed. The film is primarily based on a novel by a former Australian prison of war, Paul Brickhill. Brickhill helped plan the escape, but due to claustrophobia he did not go through the tunnel. Instead Brickhill recorded detailed accounts of the event, later penning his novel that was then transferred into this engrossing movie.

The film is introduced with this prerequisite:

"This is a true story. Although the characters are composites of real men, and time and place have been compressed, every detail of the escape is the way it really happened."

The film's central characters are an assortment of nationalities. Australian, American, British, etc. The true story didn't include Americans as they were moved to another prison camp. However the filmmakers felt obliged to provide American characters as it would boost the film's popularity with an American audience.
Basically the Nazis opt to move all their worst prisoners to a single POW camp. In essence, the POWs that have a notorious history of escape attempts are bunched together.

"We have in effect put all our rotten eggs in one basket. And we intend to watch this basket carefully."

To the Germans it's the perfect plan, but they don't realise that they've effectively assembled the most efficient and talented escape crew in history. Hence all the POWs spend over a year planning an escape that results in 76 prisoners disappearing into the night. All the prisoners are allocated a job to complete, such as people to build the tunnel, people to forge documents, and even people to assemble outfits for the prisoners to don after their escape.
The film chronicles the POW camp's inauguration until the eventual execution of the escape, then the following manhunt and subsequent recapture of a majority of the POWs (during the real event, only 3 out of 76 remained at large).

The events depicted in The Great Escape are significant as it portrays the biggest and most famous escape from a POW camp in history. It also must be noted that the POWs weren't conducting the escape just to get back to their families, as they also aimed to create a diversion for the German army who would utilise their resources during the manhunt while invasions took place.

The Great Escape is a masterpiece for several reasons. I stated before of its entertainment value, but there are additional features that elevate this into the competition for a perfect movie, primarily the film's authenticity. All costumes and props mirror the period in staggering realism. The film was also lensed in German locations. The extensive POW camp recreation is another thing. It's intricately designed, with credible characters inhabiting it. More importantly, the Nazis are actually humanised. To be sure, no-one ever took Hogan's Heroes seriously with the humour and down-to-earth soldiers. Remove the bumbling antics as well as the humour, and what remains is what we see on the big screen here. Surprisingly, there's a faint camaraderie shared by the Germans and specific POWs. The proceedings are therefore more engrossing and charming.

Director John Sturges apparently tried to get this film off the ground for 13 years. It was only after he directed The Magnificent Seven that the film finally received the green light. Sturges' determination is obvious as each scene is crafted amazingly. His lens delicately tracks his actors through the convincing sets. There are only very minor technical glitches to be found amongst the otherwise faultless filmmaking. Sturges has the drama balanced with a great blend of subtle humour. Character interactions are filled with witty and fascinating dialogue. The final act of The Great Escape is a masterfully sustained quantity of action and tension as the assorted escapees strive for freedom via train, bicycle, motorbike, row boat and hitchhiking. Sturges brilliantly edits between all their activities and leads us to an inevitable tragedy. This tragic happening sets a new, more foreboding tone before returning to light-hearted humour for the concluding shot.

"Colonel Von Luger, it is the sworn duty of all officers to try to escape. If they cannot escape, then it is their sworn duty to cause the enemy to use an inordinate number of troops to guard them, and their sworn duty to harass the enemy to the best of their ability."

Sturges' World War II extravaganza is also blessed with an ideal cast. These actors are of such high calibre that they could never be replaced in a modern age of filmmaking. Steve McQueen is both cool and tough as the suitably cocky and brash American prisoner.
Richard Attenborough is in an early performance as the co-ordinator of the escape. If one is familiar with Attenborough's subsequent performances, such as Jurassic Park, it's almost impossible to recognise him. Here his acting is absolutely top-notch.
Charles Bronson is also worth noting for his portrayal of a rugged Polish tunnel king.
Donald Pleasence is most likely recognised for his performance as Blofeld in the James Bond film You Only Live Twice. Here, Pleasence puts forth a magnificent performance as a forgery expert.
Beyond these names, the entire supporting cast is sensational. Director Sturges scarcely lets a faulty performance slip through the cracks in spite of a few embarrassingly phoney accents (James Coburn's Aussie number takes a bow).

Eventually the definitive final element was added during post-production: the music. Composer Elmer Bernstein's famous theme music is instantly recognisable. The Great Escape is perhaps most commonly known for its wonderful theme. It always sets the proper atmosphere. Even during the opening sequence depicting the arrival of POWs, Bernstein's theme hits a defiant note. Bernstein is even dexterous with every other note of music. There are endless segments of music that you'll be humming for days due to how memorable and cheery it is.

Overall, The Great Escape is a sublime masterpiece of almost unrivalled quality. It's unbelievable that it took me so long to finally watch this movie. Its influence on cinema is profound and obvious. Films such as the animated Chicken Run shamelessly borrow the formula. This is yet another testament to the superiority of this masterpiece. It's a textbook example of a great film: even after numerous decades, almost everything holds up. Additionally, repeated screenings will only further increase your respect for this classic. The great cast, sharp storyline, astute directing, and humour manage to pervade an ultimately tragic tale, simply making this an unmissable film. It's not solely for war movie buffs, but for anyone that appreciates a story depicting the strength and triumph of the human spirit.

"I don't know who you are. I don't know what you want. If you are looking for ransom, I can tell you I don't have money. But what I do have are a very particular set of skills; skills I have acquired over a very long career. Skills that make me a nightmare for people like you. If you let me daughter go now, that'll be the end of it. I will not look for you, I will not pursue you. But if you don't, I will look for you, I will find you, and I will kill you."

Taken is an invigorating, exciting, feverishly-paced action flick, and one of the most overlooked and underappreciated screen gems of 2008. It's thrilling, tightly-told, energetic, utterly relentless, and consummately entertaining. Adhering to the current trend of contemporary action movies (such as the Jason Bourne series), Taken is a film that employs gritty realism in its amazing action sequences. It also portrays a badass, greatly skilled protagonist distributing punishment to those who deserve it. This is unquestionably one of 2008's best action movies (alongside Rambo). It succeeds so admirably on account of its shameless stance as a pure actioner; ingeniously eschewing elaborate plot twists in favour of adrenaline-pumping action and fast-paced developments. It ensnares you in its (admittedly slender) plot following necessary character development...allowing little respite in its build-up to an incredible climax.

The plot is derived from the concept of human trafficking which has become a major issue in today's society. This issue is used as a foundation on which to construct a revenge-driven, fast-paced action thriller.
Bryan Mills (Neeson) is a former United States government operative. Now retired and separated from his estranged family, the desolate and emotionally sheepish divorced father is working towards a more solid relationship with daughter Kim (Grace) who now resides with her mother (Janssen) and rich step-father (Berkeley). Bryan has developed into a particularly overprotective father given that his career made him more vigilant, and he is hesitant when his daughter requests his permission to travel to Paris with a friend. Despite his initial scepticism, he eventually allows the trip to proceed. Soon following their arrival in Paris, Kim and her friend are kidnapped, and will most likely be sold into the slave trade. Bryan - who describes himself as "retired, not dead" - employs the skills he acquired in his former career as an assassin to rescue his daughter...leaving a shadow of carnage and corpses in his wake.

"It's a flesh wound. But if you don't get me what I need, the last thing you'll see before I make your children orphans is the bullet I put between her eyes."


Taken is an action movie that effectively draws inspiration from Death Wish and Man on Fire, with traces of the Bourne series as well. For the most part, the film is largely clichéd and formulaic. It doesn't matter that the thin story is painfully predictable and occasionally unoriginal (Commando, anyone?), because - as with any action flick - it's all about the execution. Taken delivers hard-hitting, bone-crunching action sequences. Exhilarating car chases and shootouts are the notable highlights, which satisfyingly compensate for the lack of originality. In terms of violence, the film is unflinching. Bryan's victims regularly meet with terrifying ends. Pierre Morel's intuitive and astute direction is spot-on. The violence is never over-the-top, and the bloodshed never exudes any trace of exploitation. Bad guys are dispatched, and Bryan immediately advances to his next victim. The action is drenched in realism - they're filled with impressively choreographed close combat conflicts and first-rate stunts. These sequences are always kept electrifying and concise. Director Morel utilises the dreaded plague of quick cuts and rapid editing; however he's graceful enough to ensure an audience always knows what's happening. The thunderous, dynamic sound mix also effectively conveys the viciousness of each punch and the sharp crack of every gunshot.

Driving the film is a sublime screenplay penned by Luc Besson with his Transporter collaborator Robert Mark Kamen. Besson is perhaps best known for his 1994 film Léon (also known as The Professional). Revenge movies are tricky beasts to master without deteriorating into bullshit territory. There are numerous clichés pervading the film. Nevertheless, the screenwriting duo commendably manages to circumvent the more obvious clichés. For instance: characters aren't ever treated with any sentimentality, and when the central villains enter the picture there are no absurdly lengthy speeches or special deaths...Neeson instead just pulls the trigger or cleverly improvises with surrounding objects. Even better, the action begins once a story has been established. There's effective character development before the descent into violence and carnage initiates. For its first 20 minutes, Taken is almost a family drama. The script delves into Bryan's private life, providing the audience with an emotional attachment to the characters. Bryan is also an excellently unconventional anti-hero. During his investigation he comes across several additional drugged-up teenage prostitutes. Instead of playing big hero and rescuing them all in a stroke of nobility, he sticks to his personal mission. The film couldn't afford to get bogged down, and it never does.

"That is what happens when you sit behind a desk. You forget things, like the weight in the hand of a gun that's loaded and one that's not."


For the most part, the acting is top notch. Liam Neeson has found his calling as an action hero. We've seen him in Star Wars and 2005's Batman Begins, but he quickly masters this particular character. The American accent is surprisingly believable as well. Even at 56, Neeson is an ass-kicking hero who can certainly dispatch his intended targets efficiently.
Famke Janssen is passable as Neeson's estranged wife, and Maggie Grace delivers a convincing performance as Neeson's kidnapped daughter. Her role called for depth, and the young actress pulls it off. The villains, though slightly stereotyped, are terrific as well. Even Holly Valance shows up in a supporting role, and she does a decent job.

It's worth noting that, while the film isn't a preachy social commentary, it capably spreads awareness of global happenings in relation to the human slave trade as young girls are sold into prostitution while the police let it happen. (In fact the film encouraged actress Famke Janssen to take action in the real battle against corruption. Janssen now serves as the Goodwill Ambassador for the United Nations Office against Drugs and Crime.) With this realistic edge the story is far easier to believe.

Regardless of the negative reviews it was compelled to endure, Taken is a thrilling film - one of 2008's greatest action movies. Saturated with intense action, credible characters and a realistic story, this is simply an essential movie for the action lovers. Many have classified the film as The Bourne Retirement, and that's understandable. Neeson's aging action hero persona is equally as skilled as Matt Damon's Jason Bourne. Taken is a stimulating, breathtaking action movie that deserves to be seen. Granted, there are dumb bad guys and cheesy dialogue...but the action is highly satisfying. Face it; that's why you wanted to see the film in the first place. You seek pure entertainment with action aplenty, you want to see villains getting their comeuppance, you want to be rooting for the hero and you want to be cheering when something badass occurs. On that note, Taken delivers. It's a shameless, enjoyable pure actioner and a powerhouse, roller-coaster action flick of enlivening proportions.


"You don't remember me? We spoke on the phone two days ago. I told you I would find you."

"She says the jungle... it just came alive and took him."

There was a period back in the 1980s when Arnold Schwarzenegger ruled Hollywood. He was the ultimate action hero, and it didn't matter in the slightest that he was a one-dimensional actor who favoured snappy one-liners over Oscar-worthy dialogue. Whether he was the action hero in Commando or the villain in The Terminator, "Ah-nuld" was a force of star-power to be reckoned with, and movie-goers flocked to see any of his action films. 1987's Predator is simply the perfect '80s movie, offering an amalgamation of the three most popular mainstream genres of that decade: action-adventure, horror, and science fiction - and it's a Schwarzenegger flick to boot. All of these components are mixed up to form this heady brew of violent action, macho posturing and ridiculously quotable dialogue, which is all set at a breakneck pace.

At its most basic narrative level, Predator is your usual men-on-a-mission movie (think The Wild Geese or The Dirty Dozen) with added flourishes of horror and sci-fi. At the beginning of the film, Dutch Schaefer (Schwarzenegger) and his battle-hardened squad of elite commandos begrudgingly accept a mission set by the CIA to rescue a group of political hostages from guerrillas in the remote jungles of Central America. The assignment seems simple enough, but shortly after rappelling into enemy territory, Dutch and his team get the feeling that something isn't quite right. Not only have they been set up by the CIA who in reality wants them to recover military intelligence, but there's also something lurking in the jungle...a creature from another planet watching their every move. As the men head to the extraction point, they are slowly targeted one by one...

The rest of the movie sustains a skilfully realised dance between the increasingly desperate commandos (who are stripped of their physical and military superiority, and must resort to any trick in order to stay alive) and the titular Predator (who mixes futuristic technology with a taste for sadistic rituals). The fact that the Predator never gives a reason for its presence on Earth makes its hunting far more ruthless. Moreover, this creature has no voice and it can't be reasoned with - it's a hunter; pure and simple. And it slaughters the commandos for no reason other than it wants to. Unsurprisingly, the movie eventually boils down to a mano-a-mano standoff between Schwarzenegger and the Predator, with the stakes more equal when Dutch discovers an invisibility method. At this point Predator announces its affinity for all things primeval, as Dutch has to reach deep inside himself and become a primordial warrior stripped of all guns and armour. The battles between Dutch and the Predator are highly exciting, and have been bestowed with an element of danger rarely felt when Arnie is typically dodging bullets - he's far more vulnerable when pitted against this strong otherworldly entity. Predator is a rare film in which a viewer gets the sense that something might just defeat Ah-nuld.

A huge part of what makes Predator such a top-shelf action flick is that it never stops charging ahead. There's a refreshingly uncomplicated plotline in place which is never dragged down by sprawling back-stories, rambling chunks of exposition or gratuitous distractions. Dutch and his commandos have a hell of a lot of personality, and the screenplay (credited to Jim & John Thomas) doles them out without ever stopping to catch a breath. The lulls in the action are always filled with something: mistrust, pig-sticking, pussy jokes, the nagging sense that something's not quite right, intense character interaction... The pacing never has the chance to drag. On top of this, Predator is one of the most quotable films in history (not far behind Arnie's Commando) - "If it bleeds, we can kill it"; "Get to the choppaaaah!"; "I ain't got time to bleed"; "You're one ugly motherfucker"...the list could keep going, but you get the idea.

This was director John McTiernan's second film, and his work here is brilliant. McTiernan has become famous for generating tension and suspense using confined locations, and for Predator he certainly uses the steamy jungle to great effect. His direction is claustrophobic and assured; confidently staging amazing action while also concentrating on tension and atmosphere. The jungle itself plays a crucial part in the proceedings, and it's wonderfully photographed by Donald McAlpine. Then there's the Predator itself. Despite being little more than a man in a suit that bleeds highlighter ink, it's a marvellous creation engineered by effects maestro Stan Winston (with some input from James Cameron). Played by Kevin Peter Hall (who stands an imposing 7'2"), the Predator is an unnerving combination of insect, reptile and professional wrestler. The creature effects are immaculate, with the invisibility camouflage optical effect still impressing to this day. Naturally, not all of the special effects stand up to this day. But happily, even the phoney-looking effects are still serviceable.

Predator features countless large and in-charge actors. Arnold Schwarzenegger leads the pack. He may not be Hollywood's greatest actor, but at the peak of his career he certainly knew how to entertain an audience. Interestingly, the film features another actor who went on to serve as Governor - Jesse Ventura. The most dynamic action sequences are saved for these two very large men, whose oversized physiques are in full display here.
Two of the most macho African American performers of the 1980s also feature in Predator - Bill Duke and Carl Weathers. Both men submit highly authoritative performances. Sonny Landham was hired for the film under one condition: that he had a bodyguard with him at all times - not to protect Sonny but to protect everyone around the actor (he was prone to starting bar fights). That trivia fact reveals pretty much everything you need to know about the badass Landham. Rounding out the cast is the endearing Elpidia Carrillo as Anna, in addition to Richard Chaves and Shane Black as members of Dutch's unit. This was the film debut of Black, who became famous for his screenwriting. Indeed, Black penned Lethal Weapon, and spent his free time on the Predator set writing his screenplay for The Last Boy Scout.

With its thrilling, high-octane mix of Rambo and Aliens, Predator certainly delivers on its promise of non-stop, energetic action - and it does not disappoint in the macho department. It's cheesy as hell, of course, and slightly dated, but it's also entertaining and cool as hell, with tonnes of quotable lines and an utterly unforgettable villain. Predator is an action movie with something for everyone, and a jewel in Arnie's career.

"Bring the noise!"

After the great success of the 2004 British comedy Shaun of the Dead it was inevitable that the filmmakers would team up for another spoof. Unlike the brainless spoof films created by the Americans who never have any conception of plot, Hot Fuzz is unique and brilliant. Instead of brainlessly spoofing films while focusing on the laughs, Hot Fuzz is a parody of the action genre as well as an addition to the action genre. There are plenty of clever laughs that improve with every screening, not to mention a lot of high-energy action and a genius amalgamation of every action film cliché under the sun. It would take a very talented bunch of filmmakers to actually make this idea work; needless to say I was very impressed with the efforts of everyone who took part in the filmmaking.

Simon Pegg is a big city cop named Nicolas Angel who has a mighty impressive record during his career: an arrest rate 400% higher than any other police officer, and very skilled in every aspect of being part of the force. Nicolas' jealous colleagues conspire to get rid of him because he is making them all "look bad". And hence Nicolas is reassigned to the sleepy, pleasant little village of Sandford.

He is teamed up with an overeager police officer named Danny Butterman (Frost) whose father runs the local police force. Danny is an eager action movie fan who is desperate to see real action; that is, intense gun fights and high octane car chases. Danny's enormous ego really gets on Nicolas' nerves. But the sleepy town is soon rocked by a number of gruesome deaths that are dismissed as accidents. Nicolas, however, becomes convinced that these people were in fact murdered. As the intrigue deepens, Danny's dreams of explosions, high-octane car-chases, gun fights and all-out action becomes more and more like a reality.

In tradition with Shaun of the Dead, the filmmakers spend plenty of time fleshing out a discernable plot while filling the screen with laughs. Unlike the brainless laughs supplied by American films, it seems the British gags are a lot more cerebral. And it's this fact that moves the film out of the "brainless entertainment" category; instead becoming a damn fine piece of cinema that is also quite groundbreaking and creative.

For a comedy, the filmmakers made no attempt to hold back on high levels of strong gruesome violence during the action scenes. The action scenes were filmed using shaky cam style and quick cuts for the modern action movie-goer. This may be looked upon as a negative aspect, but the point of using this style was to spoof the modern action genre. And it's a lot more kickass than the usual Bad Boys II kind of action scenes.

Hot Fuzz is nothing short of a brilliant movie. It's superb entertainment filled with laughs and jammed with references to classic action films. Although a bit of a slow build up, the final action scene is a no-holds-barred piece that last at least 20 minutes. Even though it's a long action scene, the filmmakers sustain the intensity and excitement from start to finish.

Hot Fuzz is immensely superior to the usual American spoof movies we've seen far too much of these days. The film is creative, enthralling and extremely entertaining. The creators of Shaun of the Dead have recaptured the magic and spoofed another genre. I hope the team spoof another genre sometime into the future.

"Get off my plane!"

Air Force One is nothing short of being one of the greatest action thrillers I have ever seen; its combination of a plausible plot, interesting characters and plenty of plot twists with stunning action makes for one hell of a great night out at the movies.

Air Force One also holds the position of one of my all time favourite action movies that I watch it frequently and never get sick of. I'm not sure what it is, but the film really engaged my attention and has continued to do this with each new viewing.

The President of the United States, James Marshall (Ford), recently authorised a strike force to kidnap the self-declared President of Kazakhstan; General Radek (Prochnow). Because Radek was threatening use of nuclear weapons against other countries he became a high priority target.

After Radek's capture, U.S. President James Marshall delivers a bold statement at the celebratory dinner before heading to Air Force One for his flight home. During the flight, a group of renegade Russians (lead by Gary Oldman) disguised as a news team seize control of the plane; effectively taking all passengers hostage. Their demands for safe release of hostages: for the Americans to release General Radek. The President, on the other hand, is able to elude capture and must utilise stealth tactics to overthrow the hijackers and stop the release of Radek from coming to fruition.

Harrison Ford is a very good presidential figure; he's head over heels better than George W. Bush as his portrayal shows the man as honourable and filled with courage. Gee, if only that could be true in real life. Gary Oldman is realistic, brutal and convincing as the terrorist leader. He has a menacing, authoritative screen presence and demonstrates stellar acting skills. I was oblivious to the actor actually being English in real life. The rest of the cast manage to establish a great deal of intensity; during both scenes of drama and scenes of action.

Air Force One is an action thriller that is both fast-paced and immensely entertaining. There is a whole lot of blood, a high body count and plenty of action. However, I found the visual effects work to be very poor at times - the final destruction of the plane was absurd and unconvincing! When the plane was airborne the effects were fairly impressive but no-where close to perfection.

Despite the flaws, this film achieved what it set out to do: entertain. Air Force One is a popcorn action film that still contains the clichés and conventions, but it is still a mighty entertaining experience.

"We're not gonna get rid of anybody! We're gonna stick together, just like it used to be! When you side with a man, you stay with him! And if you can't do that, you're like some animal, you're finished! We're finished! All of us!"

Sam Peckinpah's The Wild Bunch was greeted with a controversial reception upon its original release. The westerns distributed throughout the 1960s contained moderately tame violence. Peckinpah changed all of that - The Wild Bunch stimulated controversy for its explicit, relentless violence and virtually non-stop bloodshed. For director Peckinpah, releasing such graphic carnage was an intrepid move. However his conversion from conformist tame violence into all-out action and mayhem works amazingly.


The period is the early 1900s on the eve of the First World War. An aging gang of outlaws fronted by Pike Bishop (Holden) enter a small Texan municipality with the intention of robbing a band and using the funds for their retirement. The gang have no idea that they are walking into an ambush planned by an assemblage of bounty hunters. After the robbery goes astray and a gunfight erupts, the surviving members of the gang flee to Mexico to escape the law with bounty hunters in hot pursuit. With nothing to show for their failed robbery, Pike and his gang are desperate for work to restore their fortunes. They sell their services to a Mexican general; formulating a plan to steal ammunition and rifles from a US Army train. That's a moderately brief plot outline of an otherwise luxuriant, multi-faceted and intricate story.


Although at first glance this may seem like a standard addition to the western genre, underneath the thin surface a far more complex tale materialises. Not only does The Wild Bunch flaunt the best, most intense action scenes of the genre: it also features some of the deepest character relationships as well. The predominant gang are illustrated as having a sense of humour as well as possessing immense admiration for each other.


Another great aspect about The Wild Bunch is its inclination to resolutely break away from the ordinary conventions of the western genre. The decade of the 60s featured films and TV shows that endlessly highlighted the romance of the West. Here we have no damsel in distress and no woman who demands affection. The misogynistic elements in its depiction of women were enormously controversial as well: they are shown as whores and sex objects. Peckinpah does not water down the true nature of the West. His depiction is gritty and wholly realistic: a move that deserves tremendous acclaim.


The Wild Bunch contains some of the best action scenes I have ever seen in a western. The opening shootout is particularly impressive and embodies a sense of elevated intensity. There's a high level of violence normally displayed in slow motion. This is exaggerated but at the same time hard-hitting and brutal. The director is never concerned with suppressing the violence. Whenever a character is killed, geysers of blood spurt from the body. This is generally in slow motion, and can be interpreted as a way of emphasizing the pain and suffering one undergoes when hit by a bullet.


Despite the film's malevolent nature it is essentially a character piece driven by sublime performances from the fantastic cast. William Holden genuinely looks the part. His face looks craggy and rough; an attribute that only heightens the already established level of realism. Holden's performance is outstanding: he superbly mixes anguish and repentance with rigidity. His counterparts are all as memorable as his performance. Notably the cast features Robert Ryan, Ben Johnson and Warren Oates.


Overall, The Wild Bunch is a groundbreaking western that is still regarded as one of the genre's finest. It's a very mature western and contemporary audiences may find it difficult to look past the film's violent nature. It's extremely difficult to follow and understand due to the sometimes unrealistic dialogue and a confusing set of events. Naturally this just demands more screenings. If you're a fan of westerns or just violent films, this is one to rent or buy. They don't make them as good as this anymore.

"The boy's alive and we're going to send someone to save him... and we are going to get him the hell out of there."

The directorial career of Steven Spielberg commenced in the early years of the 1970s. Spielberg originally directed Duel before progressing onto further projects such as The Sugarland Express, Jaws, and the excellent Indiana Jones adventures (beginning with Raiders of the Lost Ark). These few years established Spielberg as an accomplished purveyor of light-hearted blockbusters and good fun action movies. It was in 1993 that Spielberg demonstrated his ability to direct powerful and mature films. Schindler's List denoted a crucial addition to Spielberg's extensive résumé: a modern masterpiece that personified good (Schindler) and evil (Amon Goeth), playing out the struggle against the tragic backdrop of the Holocaust.

1997 marked the release of two further additions to the Spielberg canon - Amistad and The Lost World: Jurassic Park. These films are fine examples of Spielberg as a thinker and as an entertainer. For 1998's Saving Private Ryan, these two characteristics are deftly merged. Not only is Saving Private Ryan an extremely powerful and deeply philosophical affair, but it's also very entertaining and utterly riveting for its entire duration.

D-Day: Tuesday, June 6th, 1944. At 6:30am that ill-fated morning, an initial assault wave disembarked at Omaha Beach. This first assault wave comprised of 96 tanks, almost 1500 assault infantry, and a task force of engineers to clear the landing area of obstructions. In the hours preceding the landing, the German shore defences were heavily pulverised by Allied artillery, naval guns, and aerial barrages. However as the first landing craft came within a quarter-mile of shore...it became apparent that the German fortifications hadn't been neutralised. Rough seas and poor visibility had hampered the artillery bombardments, with overcast conditions amplifying the margin of error for the bombing runs. Consequently, a majority of the bombs hit too far inland. Establishing the beachhead would prove to be far more gruelling than originally envisaged. As the landing crafts hit the sand, the infantry immediately found themselves under concentrated small-arms, mortar and artillery fire from enemy fortifications that covered Omaha Beach. Burdened by heavy equipment, weakened by seasickness, exhausted, and disoriented by the mayhem surrounding them, the disembarking infantry had to travel through knee-deep to waist-high water, making them easy targets for the German soldiers. Upon reaching shore, they then had to move up 200 yards of open beach before reaching any form of cover. All this while avoiding enemy fire, which fell thick and fast all around them. This event was a violent massacre.

The story conveyed in Saving Private Ryan is prefaced with the D-Day landing at Omaha Beach. This beginning is commonly regarded as the best battle sequence ever committed to celluloid. It's also frequently regarded as the best war scene in cinematic history. This sequence depicts the Omaha Beach landing from the perspective of the soldiers who fought it. This is a brilliant scene, not only in terms of technique but in its unparalleled ability to have a viewer completely immersed as the anarchic mayhem transpires. This is certainly the most violent, gory, visceral cinematic depiction of war I have ever witnessed. Spielberg spares the viewer nothing of the horrors of war as he uses every tactic at his disposal to convey the utter turmoil and futile waste that lies at the core of any engagement. The audience is presented with unforgettable, haunting images of bodies being cut to pieces by bullets, limbs being blown off, entrails spilling out, as well as a range of additional assorted examples of carnage. When the tide comes in at the battle's conclusion, with the waves breaking on the body-strewn beach, the water is crimson. It's jaw-droppingly compelling material, and all the more sobering when you realise that this isn't fiction - this actually occurred to the mostly young, inexperienced soldiers. Spielberg and his cast & crew have produced an astonishingly faithful recreation of the war experience. Shell-shocked D-Day veterans reportedly staggered out of theatres mumbling "someone finally showed what it was really like". Steven Spielberg won a Best Director Oscar for his efforts of course.

"This Ryan had better be worth it - he better go home and cure some disease or invent a longer-lasting light bulb."

The story following this phenomenal opening sequence is a simple one. A group of eight soldiers, led by D-Day survivor and hero Captain Miller (Hanks), are dispatched to find a soldier who is currently believed to be stuck behind enemy lines. This soldier they're searching for is Private James Ryan (Damon) whose three other brothers were killed in action. To avoid the devastation of Ryan's mother suffering the loss of her last son, General George C. Marshall (Presnell) orders these aforementioned eight soldiers to find Private Ryan and bring him back home. Screenwriter Robert Rodat adapted the story from a real-life situation.
This is an incisive, philosophical story. The underlying theme that runs the length of the movie is in regards to the value of a single human soul. As the eight-man platoon suffers casualties, is it really worth it just to save one man? Are there lives in this world more important than others? As the soldiers strive to complete their objective, their loyalties begin to blur and they begin to question the necessity of the mission. Spielberg vividly contrasts the faceless carnage of the Omaha Beach landing with the extremely personal and shocking deaths of some of the soldiers during their mission. Thousands died on Omaha beach, including many close friends of the surviving men. Yet the nature of this mission - which a majority of the men see as "Fubar" - causes them to question the value they place on their own lives as well as the lives of their friends. As events unfold, these soldiers commit acts of vengeance and rage that they themselves would most likely never have thought themselves capable of mere days beforehand.

"To me sir, this mission is a serious misallocation of valuable military resources."

The three-act structure of Saving Private Ryan is moderately straightforward. The movie is book-ended by two major battle sequences. In between these two major battles there are smaller skirmishes and relatively subdued character-building moments. Consequently the entire film is absorbing, engrossing, mesmerising and totally enthralling. Spielberg's Saving Private Ryan is an emotionally intense journey through the battlegrounds of occupied France during World War II. Director Spielberg delivers one of the greatest war movies of all time, if not the greatest war movie in history. But, despite being set against the background of WWII, this isn't just a war movie; this is a human drama first and a war adventure second. It commemorates the preservation of hope, courage, and sacrifice in the cauldron of fear and devastation that was WWII, or any war for that matter. These virtues shine brightest throughout humanity's gloomiest hours. Spielberg understands that in art one must show the horrors of a certain situation in order to suitably illustrate the full potential of the human spirit. All of the verisimilitude merely exists to transport us into the hearts and minds of those who tolerated such taxing circumstances so that we may perhaps identify with them, and maybe become acquainted with ourselves a bit better along the way.

As escapist entertainment (something that Spielberg also relishes) Saving Private Ryan is a masterpiece that offers a rollercoaster ride yet to be equalled or surpassed.

"We're not here to do the decent thing - we're here to follow fucking orders."

The authenticity of its period depiction is truly astounding. Spielberg opted for the film to be shot in bleached colour, with lenses similar to those available during the 1940s to give the impression of actual documentary footage. The director employs other methods to encapsulate the essence of combat - gritty hand-held cameras, a slight speeding up of the images, muted colours, and an assortment of different kinds of film stock. Altogether this adds up to a dizzying, exhausting assault on the senses. Needless to say, the film confidently won the Oscar for Best Cinematography and Best Film Editing.
The searing and uncompromising images of violence and gore almost earned an NC-17 rating from the MPAA. However the gore is by no means exploitative or exaggerated. Instead of dwelling on geysers of blood being spilled, the film continues to rapidly move along at lightning pace.

If you're avoiding the movie due to the three-hour running time, then you're avoiding it for all the wrong reasons. 160 minutes has never flown by so fast. You'll be so captivated by the brilliant filmmaking that you won't ever be reduced to boredom. The film is also remarkably visceral. Spielberg very sparingly employs CGI. Things are generally kept practical, and the rare instances of CGI are so subtle that you won't notice. Even about 20 amputee stuntmen were employed and fitted with prosthetic limbs.
Words cannot accurately describe how remarkable the sound design truly is. Loud accurate gun noises, deafening explosions and explicit stabbings are among the moments perfectly topped off by the terrific sound mix. Needless to say, the film earned an Academy Award for both Best Sound and Best Sound Effects Editing.

There's an absolutely astonishing cast at the centre of the film. Tom Hanks once again delivers an impeccable performance. He was nominated for an Oscar, naturally. The excellent ensemble cast also includes Tom Sizemore, Matt Damon, Edward Burns, Jeremy Davies, Vin Diesel, Adam Goldberg, Barry Pepper, Ted Danson, Paul Giamatti and Giovanni Ribisi. They all look the part and convey the emotional necessities of their respective characters.
In the film there is no specific human villain. Even the harsh ideology and inhumane beliefs of Nazi Germany aren't presented as the evil to be overcome. Instead war and the blistering impact it has on soldiers is the real enemy.

"The more men I kill, the further away from home I feel."

John Williams was nominated for an Oscar for his terrific music. In my opinion this must be considered as one of Williams' finest scores. The music is touching and poignant, heroic and emotive. Music is never employed during the action sequences simply because (as Spielberg once explained) it reminds the audience that they're watching a movie. Instead of music, the ambient sound effects permeate the battles. This works perfectly. Other Oscar nominations included Best Writing and Best Make-Up. It deserved both of these awards in my books.

After the masterpiece of Schindler's List, nobody could imagine Spielberg crafting another masterpiece of such brilliance. But Saving Private Ryan is proof the director is capable of making another film of such a high standard. In my opinion, Saving Private Ryan earns the honour of being the greatest war film in history. It's gripping, engrossing, and uncompromising. Spielberg strikes the perfect balance of confronting horror and poignant human drama. The director's dexterous touch is readily apparent throughout this film, particularly in his inspired use of camera framing and movement as well as the soundtrack that plays a crucial role.

Saving Private Ryan is the most powerful and accurate cinematic rendering of World War II. Nothing you've ever read in history books can prepare you for the uncompromising way Spielberg brings the war to life...he does so with great attention to detail and a genuine passion for honesty toward his subject matter. Some bitterly complain about this film being potent American propaganda. The same can be said about any war film. This particular war film is based on a real mission that was carried out by American soldiers. If you think this is propaganda then you're unbelievably narrow-minded.

"Where's the sense of risking eight lives for one guy?"

In one of the biggest Oscar blunders in history, the Academy overlooked this masterpiece and awarded Best Picture to Shakespeare in Love. How this happened is simply beyond me...

"All fucking hell is going to break loose..."

Though I walk through the valley of shadow and death, I shall fear no evil; for lord John Matrix will protect me; his big fucking guns and huge muscles, they comfort me.

In the beginning, there was Commando. And the God of '80s Action Excess looked upon it and saw that it was good. And lo did Arnold Schwarzenegger massacre hundreds of mercenaries in displays of awesome ultra-violence, and Alyssa Milano did rejoice. Amen.

After the triple play of The Terminator and both Conan films, Arnold Schwarzenegger graduated to top billing with Commando; a classic '80s action movie which fetishes explosions, violence and guns, in addition to containing an assortment of evil villains, cheesy one-liners, big guns, bigger guns and enough dead bodies to keep a mortician's convention busy for days. It was produced by illustrious action super-producer Joel Silver and written by distinguished action writer Steven E. de Souza, not to mention that the primary star is none other than the iconic Arnie. On any level above that of red-faced guilty pleasure, there's simply no way to defend Commando. It's a gloriously primitive and cartoonish action vehicle which makes absolutely no bones about its absurdity. It never pretends to be anything other than a simple-minded exercise in vicarious violence. Its heart and soul is best summarised by a line of dialogue - a female character, while witnessing two über-macho behemoths engaged in mano-a-mano fisticuffs, exclaims "These guys eat too much red meat!"

Schwarzenegger plays Colonel John Matrix (complying with the First Law of Early '80s Action Movies, this is one awesome name); a former special ops soldier now retired and living in a secluded cabin with his daughter Jenny (Milano). Matrix believes his old life of violence, gunfire and post-mortem one-liners is over, but a former dictator is unwilling to let him rest in peace. Said dictator is Arius (Hedaya) who, with the help of the psychotic soldier Bennett (Wells), enacts a plan to regain power in the third-world hellhole he was ousted from. They wish for Matrix to do their bidding, and they kidnap his daughter to convince him to comply with their instructions. But there's one thing they forgot: nobody fucks with John Matrix.

It's the way Matrix dispatches with the villain's original plan and summarily devises his own that makes Commando so exhilarating. Director Mark L. Lester serves the action spectacle straight-up, with little aesthetic flourish, emotional bracketing or even downtime. The makers realised that Schwarzenegger's primal screen presence needs little accoutrement, and the action hero is therefore just given the opportunity to bulldoze through the narrative (and literally through a sporting goods store at one stage). Matrix is less a character than a force of nature, and the cutesy scenes meant to establish his loving fatherly nature with Jenny at the beginning of the movie are impossible to take seriously. Matrix only makes sense when he's armed to the teeth with an assortment of weaponry; blasting his way through hundreds of henchmen like an automated turret when given a line of immobile enemies to dispatch (there's no reason to point out how convenient it is that he has a limitless supply of ammunition, and seems to find bigger weapons just by looking down). Commando simply surges forward from action set-piece to action set-piece; pausing only for one-liners and shots of Alyssa Milano sneering at her captors. The film lasts less than 90 minutes, but one could spend two hours talking about it because it contains so much cool stuff.

Commando works on just about every level, but it's the script that makes it such a gem. Classic one-liners range from "Let off some steam, Bennett" (after a character is impaled with a steam pipe), "I eat Green Berets for breakfast. And right now I'm very hungry" and the classic "I let him go" (after dropping some bloke off a cliff). Gold. Pure gold. Commando is the movie that helped to forge and solidify the Schwarzenegger action movie persona. At the time of this movie's release, the former Mr. Universe was known as a cyborg from the future and a loin-cloth-clad barbarian. He had already uttered the immortal "I'll be back" catchphrase (in The Terminator), and Commando immediately announces its self-aware silliness when Arnie repeats this line to the movie's central villain. This is just one of the many one-liners, puns and badass phrases peppered throughout the film; making the consciously bad dialogue second in volume to the number of bullets fired during the scant runtime.

Steven E. de Souza's script is pitch-perfect, Mark L. Lester's direction is immaculate, Matthew F. Leonetti's cinematography is beautiful, the editing is terrific and the score by James Horner is one of the coolest you'll ever hear (not to mention it gives even more power to the unique visual style). The acting, meanwhile, is spot-on right down the line. Schwarzenegger is enormously likeable and funny, and he's an awesome physical actor. Arnie reportedly performed nearly all of his own stunts (this included jumping through windows, doing gruelling fights and hanging onto a plane's landing gear as it travelled at 65 miles an hour), and the price was just a dislocated shoulder and some stitches...what a guy. Vernon Wells' performance is classic - the actor was fresh from Mad Max 2 and Weird Science when he stepped into the role of Bennett. The banter between Wells and Arnie is utterly iconic. Rae Dawn Chong as the token female confidently fulfils her duties, while Alyssa Milano is easily likeable as Matrix's daughter.

The action genre reached its pinnacle in 1985 with Commando. No movie since has been able to wield a proper combination of violence, awesome one-liners and absurdity like this vintage Arnie vehicle did. Flicks like this are an endangered species. With action movies becoming increasingly more complex (with less action set-pieces), this is a reminder of a simpler era of moviemaking. Sure, Commando could be called a dumb movie, but those deriding it with such harsh words are not accepting the film as what it was intended to be. Don't believe the film connoisseurs who claim that Citizen Kane is the best and most essential film ever - Commando is the film you MUST see!!!

I love this movie. I love it with an unhealthy obsession.

"I'm not into politics. I'm into survival. "

Mere months following the release of Predator in mid-1987, Arnold Schwarzenegger was back in action for The Running Man; a fast-paced, futuristic action movie which takes a satiric poke at TV, greed, social injustice, and America's preoccupation with violence and game shows. Based rather loosely on the novella by Stephen King (under the pseudonym of Richard Bachman), this movie is chock full of '80s goodness: bad hair, worse clothes, and enough neon to make Las Vegas green with envy. Furthermore, The Running Man is one of the most definitive Arnie movies of the decade - it contains all the necessary violence, bad puns, hammy acting, and of course his signature catch phrase "I'll be back". It has it all! One may think that the movie would have aged horribly due to the inclusion of these aforementioned elements, but there's a certain quality that keeps it all afloat. Like similar action staples (such as and Total Recall), the movie has been imbued with an odd charm that you just can't put your finger on.

The film is set in a totalitarian society in the year 2017. The world economy has collapsed, and the United States has become a military-controlled police state which controls television, movies, art, books, communication and censorship. The most popular television program is a lurid game show called The Running Man, which features convicted criminals who are given their freedom if they manage to outrun and survive a group of heavily-armoured 'Stalkers' who are out to kill them. These violent confrontations are filmed in the destroyed city streets and fed live to a delighted studio audience. Schwarzenegger plays Ben Richards; a government pilot wrongfully framed for the mass murder of innocent women and children. The host of The Running Man, Damon Killian (Dawson), blackmails Ben into making an appearance on the show, and the chase is on. "Hey Killian. I'll be back" is all Ben says before being launched into the arena. "Only in a rerun" is the host's response. Yeah, right...

For this adaptation of Stephen King's The Running Man, screenwriter Steven E. de Souza (Die Hard, Commando) uses the novel as both an inspiration and a jumping-off point; respecting the source material while simultaneously forging a very different piece of work. Naturally, de Souza adds familiar shtick and splatter, allowing The Running Man to merely showcase the Austrian Oak as he bashes his way through a large variety of super-villain characters (who come complete with cheesy gimmicks like chainsaws, flamethrowers, and hockey skates, along with names like Buzzsaw, Fireball, Dynamo and Subzero). And as he did in Commando, the writer supports Schwarzenegger with a gutsy female acquaintance and tonnes of macho one-liners. The movie's fun lies purely in the violence, since it entirely fails as a social commentary (the "television is manipulative" territory was covered more effectively in Network and later in The Truman Show). The message doesn't resonate so well amongst all the shootings, explosions and gore.

The Running Man is less deadly to your brain cells than your standard Arnold fare, but it's hardly a big thinker of a movie. In fact, there are plot holes a kilometre wide. For instance, the cameras which provide footage for the titular game show manage to film the battles from implausible cinematic angles (watch how the show uses close-ups immediately followed by wide shots which reveal no cameras or cameramen filming the mayhem). Furthermore, video cameras of the future appear to magically record everything...even in places where there aren't any cameras at all (there's cinematic footage of Ben in the helicopter when he's framed?). God forbid, one could also try to figure out what (if any) rules the Running Man show follows. But I digress... If we weren't able to suspend our disbelief, the gems of Arnie's career would be restricted to his work with James Cameron (even then, one shouldn't dissect the Terminator time-travel stuff too closely).

The Running Man also offers a soundtrack of typical '80s pop garbage, and some of the best one-liners that Arnie has ever spouted on celluloid (or at the very least, some of the corniest). Indeed, after besting a stalker, Ah-nuld always has something sly to say to their corpse. Nobody has ever accused Arnie of being a good actor, but the star can bring charisma to any scene and deliver any one-liner with the required gusto. The real scene-stealer here, however, is Richard Dawson as the game's smarmy host. Dawson is utterly perfect for the part, which is most likely because he was an actual TV host (having hosted Family Feud for many years).

On top of all this, The Running Man also presents a derivative dystopic vision of Los Angeles which resembles Ridley Scott's Blade Runner from afar, and the Mad Max series when examined closer. One shouldn't expect groundbreaking visuals from a Schwarzenegger action vehicle, after all. Another thing: the whole film is hopelessly predictable since all the narrative threads culminate in the most foreseeable way possible. And it'd be for the best if the laughable dialogue wasn't discussed in any great detail...

The mind-numbing glut of modern game/reality shows have already entered the realm of the grotesque, with contestants being ambushed by hunters with paintball guns (in the short-lived 2001 show Manhunt) and people getting verbally castrated by judges on those ghastly Idol programs. Witnessing people as they are stalked and killed seems like the next logical step, and The Running Man offers a template. The crew behind this flick can give themselves a pat on the back for the precognitive way in which they mocked a pop-culture convention about 15 years before it started. The Running Man is, after all, not much more than Survivor with weapons. Surprisingly, this movie has actually proved somewhat influential over the years - the premise has been modified for use in such action films as The Condemned and Gamer.

Aside from its botched social commentary, the large serving of formula, some appalling dialogue and a rushed ending, The Running Man is a blast of pure fun that always keeps you entertained. All the greatest science fiction movies are those that stand the test of time, and while this movie may not be Arnie's best, it works even better nowadays than it did upon original release. The Running Man is thoroughly exciting, colourful, and at times very funny.

"Fear causes hesitation, and hesitation will cause your worst fears to come true."

Point Break is simply a classic, highly entertaining action flick aimed at the mass market.

Keanu is new FBI agent recruit Johnny Utah. Young and ready for action, Utah is transferred to the band robbery division.

His first assignment is to investigate a string of bank robberies in Southern California that have been committed by a gang who call themselves 'The Ex-Presidents'. Going undercover, Utah infiltrates a group of surfers lead by surfer guru Bodhi (Swayze) and slowly learns to respect their lifestyle. These surfers are suspects in the investigation, so Utah must choose between his new friends or his duty that he has sworn to complete.

By this point in his career, Keanu Reeves still needed a few more acting lessons. For the most part he's incredibly wooden and lacking any emotion; spitting out words that sound rehearsed and unnatural.

Patrick Swayze was actually really good here. Thank God someone of Swayze's stature appeared in this movie. He almost manages to make up for Reeves' corny acting.

For an action movie, the script isn't too bad. Granted the film moves from cliché to cliché, and is very predictable...but at least it's entertaining!

The high energy action scenes make for essential viewing, especially for those who enjoy the genre.

Point Break is an action movie mixed with some energetic scenes of surfing. Some of the cinematography during the surfing scenes is fantastic, and the film is generally very entertaining.

It was great to see some characters pop up in Australia at the end. Worth a screening.

Bob Morton: "What are your Prime Directives?"
RoboCop: "Serve the public trust, protect the innocent, uphold the law."

RoboCop was released during a generation dominated by a studio obsession with futuristic science fiction action flicks. Prior to the release of RoboCop, James Cameron accomplished success with a low-budget old-school sci-fi action film flaunting muscle-bound actor Arnold Schwarzenegger portraying a killer robot in The Terminator. Even before that, there was Blade Runner and Star Wars - so it's safe to assert that sci-fi was the prominently triumphant genre throughout the 70s, 80s and beyond. Orion, the studio that distributed The Terminator, was more than happy to tackle another science fiction action film featuring an unstoppable cyborg...and found satisfaction when the script for RoboCop fell into their lap. The film's screenplay effectively masquerades as your customary superhero film in the same vein as Superman. Underneath it's possible to ascertain a far more complex multi-faceted production that wears several of its inspirations on its sleeves. This includes references to Frankenstein, Dirty Harry, Judge Dredd and Metropolis among many others. With a few similarities to formerly familiar films, the charm of this wonderful action flick continues to elevate.

It's the ideas that swirl around underneath all the action and killing (of which there is a lot!) that make this film interesting. Nevertheless it's an awesome action romp that still works well on the simple level of a superhero who is wronged, transformed, and ultimately rededicated to foiling evil. And of course, some of the robots and weapons are pretty fun - like those enormous cannons that the thugs employ to shoot up the city. The RoboCop firearm is just badass as well! Practically every aspect of the film remains virtually impeccable decades after the initial release.

RoboCop is set in a not-too-distant, non-specific futuristic time frame. The charm of the film is that no specific time period is disclosed. It could be 100 years into the future, or virtually present day. The film's central location is the city of Detroit that is falling apart as a consequence of crime. Police officers are unhappy with their work conditions, and a strike is in negotiations. A private organisation, Omni Consomer Products (OCP), eventually seizes control of local law enforcement to ensure security on the streets. Technicians at OCP begin developing a robot that can uphold the law and work diligently. Subsequent to a disastrous prototype, the technicians instigate a new program - the RoboCop program (therein lies the title) - as a follow-up to sustain the philosophy. When policeman Alex Murphy (Weller) is sadistically slaughtered by a street gang (one of the most brutal executions in film history), OCP technicians use his deceased corpse to manufacture a perfect cop with mechanical limbs and superhuman capabilities...a machine completely impervious to bullets and explosions. The results are highly successful as RoboCop begins abolishing crime in the city. However, RoboCop begins remembering some of his past memories and commences a rampage aiming for a goal of retribution.

Dutch director Paul Verhoeven contributes stellar direction to the production. Originally the director wasn't interested in taking the reigns until his wife talked him into it. Verhoeven seized RoboCop with escalating enthusiasm, seeing the film as a way of making keen annotations regarding the conditions of things in the USA from the perspective of an outsider. He conveyed an unyielding impression of pace and economy...with a few hundred litres of fake blood to compliment the action scenes. In addition to the ingenious creative concepts contributed by Verhoeven, there's the remarkable Ed Neumeier script that takes an enthralling look at a dystopian society of the future. Unfortunately, the film's marginal weakness is in the script. The film will surely be scoffed at by today's audiences. In tradition with typical 1980s action flicks such as those executed with Stallone or Arnie as the film's primary acting talent, the one-liners are badass but laughable. One of the film's principally stand-out features at the time was the work of gifted Rob Bottin who contributes special effects that still retain their 'wow' factor. Sure, some of the stop motion techniques look dated but they are still mighty impressive. The RoboCop outfit looks inspirationally spectacular. If that's not enough, the score by Basil Poledouris is truly wonderful. The theme is awesome! It sincerely delivers the correct messages and constantly portrays a sensation of exhilaration during the action scenes. Memorable themes are persistently absent from movies nowadays, and so it's revitalising to take a look back to when movie music meant something.

RoboCop is supported by an amazing cast! Peter Weller instantly perfects his role from his first line delivery. When Weller is placed underneath the elaborate outfit, all we see is his lower face. The filmmakers were apparently seeking someone with a strong jaw-line. This goal is achieved...and the altered, more mechanical voice sounds fantastic and perfectly suited to the corny lines assigned to the character. Kurtwood Smith is also very impressive as the film's central villain. Like many other aspects of the film, his performance will probably be regarded as laughable. Still, he seems evil and he does evil things. This is the period of the 80s action films in question!

Overall, RoboCop quickly earned a place among my all-time favourite action films. It's an extremely fun action flick that, despite all its predictability, delivers an engaging portrait of a futuristic superhero kicking arse and unleashing a one-man war on the bad guys. A commendable facet of the action scenes is that we can no longer criticise the appalling aiming of those firing at the hero. Instead RoboCop is hit several times...but of course cannot be wounded by bullets or weapons so he is able to continue his tremendous killing spree. It's a rare event to witness an action film of this stature anymore: instead the studios opt for watered down violence and kiddie action scenes to aim for a mainstream audience. RoboCop is everything one could desire from a hardcore science fiction action film. There's awesome production design, abundant action and plenty of opportunities for corny lines to surface while violence unfolds. In a sense it's a futuristic western that also borrows elements from other famous films. This is simply an awesome movie that is worthy of multiple screenings.

William Burton: "What's your plan?"
Nick Cherenko: "Kill them all."

Over recent years, washed-up '80s action heroes have earned their pay-checks by starring in low-budget direct-to-DVD action flicks, most of which of an unbelievably low standard. Steven Seagal, Chuck Norris, Jean-Claude Van Damme and Sylvester Stallone (momentarily) are a few names that immediately spring to mind. In addition to these names is Dolph Lundgren, whose CV includes such titles as Universal Soldier, The Punisher and Rocky IV. However, astonishing as it may seem, Dolph appears to have the potential to rise to star status once again (perhaps Sylvester Stallone's upcoming The Expendables will prove an appropriate vehicle). After demonstrating his surprisingly competent ability as a director with 2004's The Defender, Dolph has capitalised on his strengths behind the camera in creating The Mechanik (known more commonly by the generic and lousy title The Russian Specialist). This is a fun, entertaining, old-fashioned seventies-style shoot-'em-up revenge flick (think Death Wish), as well as a tight, stylised throwback to the hard-R action flicks of old. With The Mechanik, Dolph has dived into his second directorial gig with guns fully loaded...and has delivered a thrilling, hardcore ride into admittedly conventional territory.

Dolph Lundgren places forth a fairly standard performance as retired Russian Special Forces hitman Nikolai Cherenko. During a drug deal gone wrong, Nick witnesses his family being slaughtered by Russian gangsters. He illegally immigrates to the United States in order to commence a new life (free of violence and war) as a car mechanic in LA. However, his past catches up to him when Nick is approached by a woman who offers him a large sum of money to rescue her kidnapped daughter. Initially Nick is extremely reluctant to accept the job until he discovers the identity of the kidnappers...the same Russian gangsters who had murdered his family years earlier. Nick wakes up the cold-blooded soldier inside him in order to settle the score.

The Mechanik is merely a revenge saga. It pits Dolph's Nikolai Cherenko - a stoic, wordless, physical threat - against a cabal of unsavoury Russian gangsters (lead by the nefarious and seedy Ivan Petrushinov, who's very easy to hate). Several action sequences flow from this. The fact that Nick's objective is to rescue some hapless girl is beside the point - in actual fact, beyond a handful of brief dialogue exchanges, this relationship is fairly subdued. Like most similar action films, the girl's kidnapping is a means to an end...in this case, that end is a surplus of dead Russian gangsters. What prompts Nick to saddle up for an additional round of violence is not the virtuous, innocent face of Julia (in the photograph shown to him by her mother), but the ugly mug of her kidnapper - the man who killed his wife and child in cold blood. Nothing deep is at play here; basically, it's just Dolph with a shotgun, declaring "It's on!" (This could more or less be branded as The Punisher Goes To Russia.)

While Dolph's first effort as a director - The Defender - was a fun exercise in ultra-violence, he one ups himself with The Mechanik by helming and starring in a film featuring a lead character we can actually care about. Brief time allotted to revealing Nick's background is effective, allowing a viewer to be sympathetic to his cause despite his nasty, violent ways. Nick Cherenko is fundamentally a pleasing throwback to the cold-blooded, one-dimensional action heroes of the '80s... Dutch Schaeffer. John Matrix. John Rambo. Marion "Cobra" Cobretti... Cherenko is cut from the same cloth. If you want a deep characterisation of a tortured, multi-layered hero reluctant to use firearms, watch Batman Begins. For a nourishing dosage of alpha-male shotgunning, watch The Mechanik.

Naturally, the focus of The Mechanik is not on solid characterisations or a meaty narrative...Dolph channels his talents as a director into the action sequences. However, there are commendable scenes focusing on developing the characters...a quality rarely seen in this genre. Dolph directs action with style and a refreshingly blunt honesty. The action scenes are bullet-fuelled and extremely bloody. Elia Cmiral's accompanying music is suitably intense and riveting. The music is also atmospheric, effective and low-key, occasionally reminiscent of Cmiral's work on Ronin.

Several exciting set-pieces are strung together competently, barely stopping to allow a viewer to catch their breath. It's overflowing with gory shootouts galore, culminating in a blood-soaked finale that proves a satisfying way to round out the narrative. This 20-minute final shootout is an obvious homage to the Western genre, concluding with a startling exercise in gory dispatching. However, Dolph's over-reliance on flash (most notably during the first half) is detrimental, using too much slow motion and wacky colour saturation. It ultimately comes off as gimmicky (think Tony Scott meets John Woo).

The Mechanik rises above the tragically low standard for direct-to-DVD action flicks, but it's nevertheless a fairly flawed movie. With the exception of Nick, most of the other characters are one-dimensional additions in order to offer a higher dosage of gory deaths. Also, every so often its $5 million budget (approximately) is relatively obvious. The gaps between action scenes bog on account of sluggish pacing, and therefore it fails to engage from time to time. The final climax (while still fun by all means) is far too long. A concise shootout was imperative to close the narrative, but this continued to drag out. Kudos to Dolph for exploring the possibilities of a battle in a small Russian village, but it isn't chaotic enough and it outstays its welcome. Interestingly, some of the rudimentary sound effects (city ambiance, door opening, gunshots, etc) seem cheap and recycled.

With Dolph Lundgren desperately requiring a suitable comeback to reignite his struggling career, it's baffling that Sony Pictures dumped this serviceable, entertaining actioner into the direct-to-DVD realm. Meanwhile, Sony allows nonsense such as Are We Done Yet? and Crossover to pollute theatres across the globe. The Mechanik isn't a perfect movie or even a masterpiece of its genre, but this could have been Dolph's much-awaited theatrical comeback if this film was given a bigger budget and further attention. Stallone fought his way out of the DTD plague, resurrecting his career with Rocky Balboa, so why can't Dolph be given the career resurrection he truly deserves?

Trust me: The Mechanik is far better than expected. As far as I'm concerned, Dolph Lundgren can continue churning out these ultra-violent actioners as his undemanding fans will most certainly enjoy them. With its decent script, stylish directing, above-average performances and unrestrained violence, The Mechanik supplies the best macho "you killed my family, now I kill you" experience in years. Dolph may not entirely circumvent the action movie clichés, but he's savvy enough to realise that nothing satisfies like a blood-soaked dosage of served-cold revenge yarn. While not groundbreaking by any means, The Mechanik is simply an action-packed expedition into clichéd domain.

Hollywood seriously needs to give Dolph the comeback he genuinely deserves!

"Give a guy a gun, he's Superman. Give him two and he's God."

John Woo's Hard Boiled is a scrumptious feast for action lovers - an explosively visceral, operatic tour de force of amazingly choreographed violence and blistering pyrotechnics that's iced with Woo trademarks. At its core the film is a fairly standard cop drama with a limp emotional hook and cardboard characters, but with action extraordinaire John Woo at the helm, Hard Boiled is pumped up several notches. Woo grasps the conventional framework of an over-the-top action-thriller before adding a dense layer of visual artistry which is supplemented with meticulous choreography and the visceral punch of innocents in harm's way. Altogether, it's the perfect recipe for a John Woo actioner, and if this isn't his masterpiece then it certainly represents the director well enough.

Hard Boiled introduces us to tough-as-nails Hong Kong inspector 'Tequila' Yuen. At the beginning of the film, Tequila loses his partner in a shootout with a ruthless local triad gang. Determined to settle the score with these gun smugglers, Tequila reluctantly partners up with undercover police officer Tony (Leung) who has infiltrated the Hong Kong Triads. As Tony and Tequila work to crack the gun-running case, there are countless chest-thumping gun battles mixed with some halfway decent character development on top of an interesting subplot concerning paper cranes.

More than anything else, Hard Boiled is anchored firmly in place by the jaw-dropping action. Countless bullets are discharged throughout the film as the duo of heroes battle literally hundreds of henchmen. The key action sequences in Hard Boiled can be instantly recalled just by naming the location in which they transpire (the tea house, the warehouse, and so on). The shootouts never lack energy and never fail to astonish - the opening gunfight itself would be a worthy climax for any American actioner. The entire final half an hour of the feature is one long, breathtaking action set-piece within a hospital which moves briskly from one tense confrontation/shootout to another. There's one particularly stunning shot during the hospital sequence that lasts almost three minutes and follows Tequila & Tony as they dispatch a multitude of henchmen. In excess of 100,000 rounds of blank ammunition were reportedly expended during the production of the film. Interestingly, even despite the nonstop gun battles, we hardly ever see any characters reloading...

Director Woo employs close-ups, quick cuts, slow-motion, and insane tracking shots to weave in and out of the action. As a result, a viewer can easily become enthralled by the intense carnage. Unlike most other action directors, Woo understands one crucial thing - the geography of an action sequence. Woo's cinematography is smooth and steady as opposed to over-edited and shaky (like the director's successors). Meanwhile the score is both eerie and adrenaline-pumping, and the editing is sharp. Credit is also due to those who designed + created the sets - every location which houses an action sequence is blown to pieces for our viewing pleasure. The mayhem is simply awesome! On top of the competent craftsmanship, there's some sly humour tossed into the mix as well. A special mention should be made about the body count for this flick - according to multiple websites, Hard Boiled dishes out 307 bodies in total (146 during the hospital sequence alone).

Woo has two exceptional actors in Chow Yun-Fat and Tony Leung, who help prevent the film from diving into deep melodrama. Hard Boiled is marred by one factor, however: Tequila is never developed as a flesh-and-blood character. Tequila is just Chow Yun-Fat, the Asian Arnold Schwarzenegger - he's a mere cardboard cut-out with nothing more behind him. Were it not for the fact that Tony Leung's character is thoroughly developed and that the action truly kicks ass, Hard Boiled would just be another disposable actioner.

Prior to director John Woo's Hollywood conversion (resulting in excellent films like Face/Off, as well as duds in the form of Paycheck, Windtalkers and Mission: Impossible II), the man crafted a number of classic action films. Hard Boiled is arguably the best of the bunch. It's thin on plot, it's definitely silly, and it lacks an emotional hook, but it's the action and the top-notch filmmaking that deserves recognition here. From start to finish, dull moments are few and far between - and at over two hours in length, that's quite an achievement. Hard Boiled is also an essential motion picture which helped revolutionise the action genre for the subsequent generation - films like The Matrix owe their success and superb shootouts to this John Woo classic. You're simply not an action enthusiast unless you're familiar with Hard Boiled.

"I'm going to get that little fucker if it's the last thing I do...It may actually be the last thing I do."

Sometimes movie-goers require a dosage of simple, unadulterated fun in the form of a film that's content with serving up a nourishing dose of action, violence and sex. So thank Mark Neveldine and Brian Taylor that the delightful action-comedy Crank exists. Geared towards the dormant 13-year-old in every male, Crank doesn't merely unfold...it explodes onscreen, careening from one chest-thumping scene to the next. It delivers 85 minutes of pure action and hilarity, with minimal encumbrances (like exposition or character development) and with only skeletal fragments of plot. Crank also throttles forward with a glorious tongue-in-cheek approach - the over-the-top action is delivered with a side order of cheese, and plenty of humour accompanies the cocktail of testosterone and adrenaline (emphasis on "adrenaline"). The film is every bit as trashy, vulgar, sexist, brainless, excessive and callow as you'd imagine, but this reviewer enjoyed every delirious minute.

Former professional assassin Chev Chelios (Statham) awakens in his apartment at the beginning of the film after having been poisoned by his rival Verona (Cantillo) with a lethal dose of the "Beijing Cocktail". Chev only has about an hour to live, but learns that he'll be able to slow down the effects of poison and live long enough to exact revenge if he keeps his adrenaline levels high. And thus, Chev begins a citywide crime spree. In order to keep his adrenaline pumping he resorts to barbaric violence, cocaine, shootouts, car chases (usually in stolen cars), epinephrine, caffeinated drinks, nasal spray and a very public display of affection. And during all this chaos, Chev's "doctor" (Yoakam) - you'd use quotation marks too, if you saw how this guy runs his practise - dispenses advice through a phone line, though he insists there's no actual cure for what Chev has been injected with.

Directed and written by Mark Neveldine and Brian Taylor, Crank is an exercise in overblown simplicity. Prior to this movie, Neveldine and Taylor had only worked as cinematographers and camera operators, which probably explains why the visuals overwhelm all narrative requirements. The story is every bit as dumb as it sounds, but who cares? Why watch Crank for incisive dialogue or intelligent plotting? It has a niche audience, and it aims solely to satiate them. Once you suspend your disbelief, respect the film's decision to dispose of all logic by the 10-minute mark, and realise that the creators are only interested in cramming as much action as possible into a tight runtime, you're in for a fun, action-packed ride that's all about the forward momentum.

Neveldine and Taylor employ every stylistic cinematic technique imaginable. In fact, there are times when the movie feels like little more than an opportunity for the two writer-directors to show off. With split screens, distorted images, first-person shots, slow-motion, fast-motion, freeze frames, animated representations of Chev's heart, colour saturation and use of Google maps, the look of the film is frenzied and adrenaline-pumping; replicating the emotions and anxieties of the protagonist. However the style crosses over into tedium from time to time due to sheer repetition. There's so much happening during every single frame and there's so much action that it all feels like a far too generous helping of junk food. After all, at its most basic level, Crank is overstylised junk food. If one removed all the visual tweaks and tongue-in-cheek humour from the equation, one would be left with a story better off in a direct-to-DVD action flick starring Van Damme or Steven Seagal.

British badass Jason Statham (of Transporter fame) carries the whole feature on his well-formed shoulders; pushing the envelope of acceptable antihero boundaries. With his eyes full of fire, Statham turns Chev Chelios into a laser-guided missile of mayhem, unable and unwilling to stop until he finds an antidote and/or slaughters everyone responsible for his corpse-bound state. Thankfully Statham brings a degree of dimension to the role, and his acting is top-notch.
Since Crank is mostly a one-man show, the rest of the cast just needs to be present, accounted for, and playing their minor part for the film to succeed. But oddly enough, the supporting players are just as effective. Jose Pablo Cantillo is all teeth and terror as Verona, while Amy Smart is frequently amusing as Chev's girlfriend Eve. There's also Efren Ramirez (probably best known for Napoleon Dynamite) who plays Chev's sidekick Kaylo with subliminal flamboyance.

Some audiences may choose to dismiss Crank as an over-inflated excuse for blood, guts, firepower and fisticuffs...to an extent, that's correct. But it's also hilarious, irresistible, macho fun. It's best described as a live-action video game (some levels even play out like levels of Grand Theft Auto) with an unhinged Jason Statham in the centre of it all. Stuffy, serious critics may dislike Crank due to its contrived story (after all, why couldn't Verona just shoot Chev instead of poisoning him?) and shallow characterisations, but the movie is more geared towards those who'll take it in the intended spirit. Be sure to keep watching 'til the end credits expire for a scene which cements its live-action video game pedigree.

Followed by Crank: High Voltage in 2009.

"Who's got my fucking strawberry tart?"

In spite of only earning a mere $43 million at the global box office, 2006's Crank became an instantaneous cult hit. This cult status ensured that writer-directors Mark Neveldine and Brian Taylor would be given the chance to produce a sequel, which has at long last arrived in the form of Crank: High Voltage. This is merely a celebration of action-comedy; a barely coherent collection of stunts, fights, plot absurdities, profanity-laced dialogue and sex...all set at breakneck pace. It's a grindhouse film for the MTV generation, and it's one hell of a rip-snorting rollercoaster ride in which Neveldine and Taylor push their movie to the limit and beyond (with absolutely no regard for restraint or basic standards of common decency).

For those who recall, Chev Chelios (Statham) "died" at the end of Crank - he fell from a helicopter and landed on the pavement several thousand feet below. But in this sequel, he's alive and well. Clearly, the best explanation as to how Chev survived his fall is no explanation whatsoever. The moment he hits the pavement, he's hauled away by a group of Chinese thugs and taken to a seedy laboratory. His heart is removed and replaced with an artificial heart in order to keep him alive so his other organs can be harvested. Needless to say, Chev is unwilling to be a mystery donor. After busting out of the operating room, he embarks on a hunt for his missing heart while killing assorted forms of scum along the way.

This premise sets up another 85 minute of insanity similar to the first film, with Chev engaging in a wild orgy of violence and sex. His trustworthy doctor (Yoakam) is once again on the other end of a phone line, and informs Chev that he has to keep his artificial heart powered in order to sustain his citywide rampage. The electricity becomes derived from all manner of sources - tasers, car batteries, powerlines, friction, and so on. This contrivance also leads to an over-the-top cartoonishness, and any semblance of realism is quickly drained from the material.

Realistically, the only way to follow up on the outrageousness of Crank without creating a pure re-tread is to push the envelope. The envelope isn't merely pushed; it's blown wide open. Crank: High Voltage actually makes the original Crank seem like a safe, studio-friendly venture. Lionsgate evidently didn't set any restrictions for Neveldine and Taylor to obey, so the filmmakers were free to turn the movie into a masterpiece of camera gymnastics and dark comedy. The notion that these films are cinematic video games is pushed even harder (especially by Mike Patton's score), and the movie once again rests on the shoulders of Jason Statham and Amy Smart (who are apparently game for any kind of public debauchery the writing/directing duo can cook up). The phrase "over-the-top" is perhaps an insulting understatement, much like the words "morally bankrupt". Thank God it's also endlessly entertaining, and easily one of the most hilarious movies of 2009.

In spite of my better judgement, this reviewer adores the Crank movies. Crank: High Voltage may even be superior to its predecessor simply because it's even more energetic and inventive. It's also one of the craziest, most ridiculous movies ever made - and that ain't an insult. Just when you believe things can't get any crazier, Neveldine and Taylor take another unpredictable turn. For instance, there are a few newscast segments featuring John De Lancie as an anchorman whose bitingly satirical anecdotes are a highlight. There's also a wonderfully executed parody of the old Godzilla movies (featuring exaggerated puppet versions of Chelios and his opponent) included at the most random time plainly because the kitchen sink had been tossed in and the filmmakers were struggling to find something else. But since Crank: High Voltage is in full excess mode, not everything works. For example, a superfluous dream/flashback sequence with a young Chev and his mother on a British talk show brings the movie to a grinding halt and temporarily hinders the pacing.

Neveldine and Taylor's shooting style is varied and frenzied. The movie looks remarkably good considering its low-budget origins, not to mention the fact that it was primarily shot with consumer digital cameras easily obtainable at your local electronics store. Like the first movie, the handheld shooting style allows a viewer to see the world from Chev's perspective. The editing is rapid (probably about two cuts per second on average) and a wide variety of visual tweaks are employed (freeze frames, comic book-like captions, cartoon sound effects, and even pixilation to "obscure" supposedly graphic sexual acts). But like the original movie, the plot and characters are elementary; the type of stuff found in direct-to-DVD offerings. Also, too, since this sequel adopts a lot the same cinematic techniques of its predecessor, as well as the general template, it does feel derivative from time to time.

Crank: High Voltage works as wonderfully as it does primarily because Jason Statham is so pitch-perfect; merging bona fide action star with genuinely sharp comic timing. Statham is an effective straight man doing what straight men do best - ignoring the silliness around him, and approaching everything without a wink or a smile.
There are a bunch of returning faces from the first Crank, most notable of which is Amy Smart who's terrific as Chev's public-sex-prone girlfriend Eve. Dwight Yoakam is another highlight as Chev's hedonistic, amoral friend and medical advisor. Efren Ramirez also returns, playing the brother of his character from the original film (how clever). The most surprising addition to the cast is an utterly unrecognisable and underused David Carradine, who's hidden under age make-up in a weird, hysterical and brief riff on his old Kung Fu movies. Keep an eye out for Corey Haim as well, who amps up the sleaze for his minor role.

Critic-proof movies are all the rage in this current cinematic climate. Crank: High Voltage is pretty much critic-proof. If you find yourself hating this film (a perfectly reasonable reaction), you're probably not the audience for this type of flick. While this argument could be used for countless other brain-dead summer actioners, the Crank films stand out due to one very crucial factor: they have balls. They're unapologetically R-rated action films which focus on the gore and are low on silly CGI. If you loved the first Crank, you're likely to enjoy this sequel just as much.

Be sure to stay throughout the credits for an assortment of bloopers.