As for her, well, dare I speculate she was searching for some rainbow's end? And best of all, Red Heat is generic enough that you'll have forgotten everything you've seen by the time it appears on television again three weeks later. But that very movie could have used, if I may be so bold, two or three more passes on the script, a whole lot more rehearsal time, and a shooting schedule that allowed everyone the breathing room to get things right. Snipes stars as Blade, the vampire slaying hero of the title, who can turn an entire nightclub full of the undead who enjoy basking in blood raining down from the sprinkler system into sushi using an imaginative array of razor sharp weapons. The pair team up to fight a vicious gang of Yakuza goons in a series of ridiculously macho encounters that were already beginning to look antiquated in 1991. And when you do, it's inevitably one of the following movies that appears on the screen. I want to make him talk! To make matters more interesting, the five acts are non-chronological.
Road House saw Swayze in full 80s pomp, starring as a tough bouncer hired to tame the revellers in a rough Missouri bar. Blade 1998 Wesley Snipes was at his effortlessly cool, charismatic best in 1998's Blade, a film that adds numerous clever twists to vampire movie lore. References to directors like Alan Rudolph and Robert Altman, not to mention Quentin Tarantino, certify first-time feature writer and director Dennis Hauck's goal to participate in the pleasantly depressive genre. Stephen Norrington directs with hyperactive, youthful vigour, and the film is loaded with enough imaginative violence, gore and swearing to keep you awake for its gleefully over-the-top climactic battle.
Picture the scenario: it's past eleven, you're back from the pub and feeling suitably refreshed. Shot in 35 mm Techniscope or 2-perf with five 20-minute uncut chapters, Too Late is bound to be a classic take on the detective genre memorable for such hard-boiled shamuses as Philip Marlowe and Sam Spade. The movie's pivotal scene, where Hauer holds a group of civilians hostage on a cable car, is an unexpectedly tense piece of filmmaking, particularly after a beer or two. Filled with all the swordfights, beheadings and suspect lines of dialogue you could want, Highlander is an implausible, titter-inducing late night fantasy classic. Timecop 1994 Most Jean-Claude Van Damme movies are nigh on identical, and it's often impossible to tell which one you're watching from one scene alone. Erika Eleniak of Baywatch fame pops out of a giant cake as the film's female in distress, and the whole enterprise is an efficiently directed B-movie retelling of Die Hard with boats.
You can only vaguely recollect the plot, the action sequences are similar enough to other films that you can easily muddle it up with half a dozen other 80s violent cop movies. For sheer spectacle and mid-80s violence, however, Commando beats anything else in Schwarzenegger's extensive back catalogue. Sean Connery co-stars as Juan Sanchez Villa-Lobos Ramirez, a Spaniard with a stronger Scots accent than MacLeod, while the monolithic Clancy Brown puts in a bonkers performance as the evil, granny-frightening Kurgan. Red Heat 1988 Walter Hill's cheeky reworking of his own 1982 movie 48 Hrs, Red Heat is the consummate post-pub movie.
Arnold stars as retired soldier, John Matrix, an indestructible killing machine who becomes murderously annoyed when a gang kidnaps his daughter Jenny a youthful Alyssa Milano from their mountain retreat. Although I've not mentioned much plot in this review, you get the idea that various fringey L. In every case, Sly stars as the puppy-eyed killing machine John Rambo, a man who can wade into any battlefield with nothing but a sweating torso and a sharpened stick, and still reach the end credits with nary a scratch. Arnold Schwarzenegger stars as Russian lawman Ivan Danko, who provides a stony-faced foil to James Belushi's wise-cracking Chicago cop, while Ed O'Ross turns in a faintly eerie, corpse-like performance as the movie's villain, Viktor.
Summer is sympathetic as always, cementing her position as the great Adult actress of the current generation. Of course, gonzo fans will write this whole feature off as mere soap opera, not ballsy or dirty enough to merit viewing, but that's missing the point. Croix is suffering a familiar mid-life crisis - everything including his love life with wife India Summer has settled into a rut, making him an automaton as described in Colin Wilson's philosophical books dating back to the '50s. For a title vibrating with despair like that of The Big Sleep, In a Lonely Place, The Long Goodbye, and A Touch of Evil, Too Late reeks of a dark, desperate, disorienting world where a soulful and soulless private detective named Mel Sampson John Hawkes searches for meaning among L. Hauer was at the height of his powers in the early 80s, and he turns in a sharp, mesmerising performance as Euro terrorist Wulfgar.
His screenplays purposefully juggle time, showing us a certain series of events in an independent context, then doubling back in time to reveal why everything the viewer thought he or she knew was wrong, while also providing bonus pleasures like bringing favorite characters back from the dead, in a manner of speaking. Not just in shooting, which is, in the first-act, obliged to pan-and-zoom to ridiculous lengths. The scene where a character is knocked to the ground by a falling stuffed polar bear is also worth staying up for. Act three goes back those aforementioned three years, whaddya know.
Many of those souls are dames, femme fatals if you will, beautiful in a cheap way but deeper emotionally than you'd expect and fraught with danger for anyone who cares about them. Under Siege 1992 Aikido master Steven Seagal's biggest box office success, Under Siege is a genuine late night treat. Mulcahy directs the film like a rock video, setting much of the action to Michael Kamen's memorably pacy score and Queen's wailing theme songs, including the keening swagger of Princes Of The Universe and Butlins illusionists' favourite, A Kind Of Magic. Seemingly hewn from granite, veteran actor Richard Crenna shows up in each film as Colonel Trautman, Rambo's father figure and the invaluable source of plot exposition.
I commend Hauck for getting out there and making the movie that he was clearly passionate about making. Tired detective Sampson searches for a pretty young stripper, Dorothy Crystal Reed. The film's nevertheless a solid gold piece of post-pub entertainment, not, curiously, for its spectacular displays of physical prowess, but for its quaintly inept special effects, including a man killed in a car crusher spot the shop dummy , and one of the most risible beheadings seen in the last twenty years. . But before you head off to bed, you decide to turn the television for a spot of bleary-eyed channel hopping.
Unfortunately, there wasn't only one Highlander production, but several, including four increasingly tiresome sequels, a television series and a threatened remake. As we've mentioned before on Den Of Geek, First Blood is the most mature and well written of the three films, but the other two are arguably more enjoyable after a few pints of lager. For the most reliable source of post-pub entertainment, stick with the 1986 original, in which Christopher Lambert makes his first appearance as immortal Scotsman MacLeod. Fortunately for post-pub viewers, however, Timecop is more about Van Damme's balletic fighting than mind-bending storytelling, and also features the most gratuitously over-the-top exploding house in cinema history. A powerhouse display of 80s action cinema, Commando is one of the most over-the-top films of the era, with Arnie's character carrying around entire trees in his spare time, and impaling villains on steel pipes when he's in a mood. Turn on the television after midnight on a Friday or a Saturday, and you'll almost certainly stumble upon one of these after a few seconds channel hopping.