90 min. of Prime: "Death Warrant" Coincidentally the Dog in the Flaming Room Meme

 

It definitely felt like a busier week for me. Going out to see fireworks, that is definitely busy work.

Please pardon my lack of patriotism. Forgive me for watching fireworks with my English Football tattoos exposed due to my Marty Scurll and Zack Zabre Jr. tank top. But listen to me about how The American Revolution was nothing more than a ploy to serve the rich. I do not know if I can flush that one out into a great piece of satire at this point, so that indoctrination will be for another time.

Regardless, God Save the Queen and Fuck the Video Assisted Referee (any good ref could have seen the offsides and the penalty).

On the topic of great foreign things that have fallen on hard time (I cannot wait for the Prince Charles take on "JVCD"), Jean-Claude Van Damme was one of those. As an action star, not an actor of course. If you have a writer as wise as David S. Goyer who knows how to justify an Los Angeles cop with an accent, you are in for some good stuff. If only I had those details before I accidentally came across the ridiculous finale of "Death Warrant" on cable.

10 years later, as someone who appreciates the Zack Snyder's DC trilogy, I can revel in the ridiculous premises that Goyer lays out. If only "Superman" had Van Damme's personality, I think everyone would agree with me that "Dawn of Justice" and "Death Warrant" can only be regarded as classics.

After single-handedly avenging his fallen partner, Quebec-transplant Louis Burke is the buzz of the L.A.P.D.'s homicide division. Being able to defeat the psychotic giant known as the Sandman, the governor and attorney general believe he can handle an undercover assignment in a state prison. He is a Quebecer. How would any inmates know who he was? This makes him the ideal person to determine who and why the new straight-laced inmates keep getting murdered. Or does this make him the ideal target.

The guards are in on this game and the governor may be as well. With Burke only being able to trust Amanda, his liaison, and Tisdale, his adolescent hacker pal, he will need to stick his neck out and ally himself with the wisest and most ambitious inmates to take down this conspiracy. All while praying that no seemingly invincible cons who he had busted get transferred to this clink.

"Death Warrant" might be the last great crazy script from the 80's era of action. Eventual TV great, Deran Sarafian's direction is the only thing that hinders the film. Well, that and most of Van Damme's costars acting down to his level.  Acting to the lead's capabilities is great when it is Keanu Reeve in a "John Wick" film, and you are portraying a criminal mastermind. Doing so as a somewhat ordinary person against a Belgian martial artist is comical.

But with all the stuff Goyer throws into his script, comical is not necessarily bad. It is like "Commando" with a lead who has more to say than just one liners. That either means we have a better story than the Schwarzenegger vehicle or far too low of a body count. Whatever you think, both are ridiculous, and that is what you want from 80's action, provided the effects are up to par, which they are.

To further get your attention, you get great supporting characters, some of whom you are just glad to see. Like Joshua John Miller, the boy who played Homer from "Near Dark." It is just good to see he did not leave his talent behind.

Robert Guillaume is not as powerful as Morgan Freeman's Red, but he gives a wise performance that is wise in so many ways. Wise that knew what kind of movie he was in. Wise that he knew how to be a relatable every man to help guide us through this tale. This wisdom must have passed on to his role as the original Rafiki.

This feature also has the best villain in a Van Damme film next to "Bloodsports's" Chung Li. Patrick Kilpatrick as the Sandman is like have an actual speaking version of Li. He is huge and menacing and his dialogue makes about as much sense as Bolo Yeung's most iconic role. Fortunately, the creepiness gives him a supernatural nature that you buy in on. Not until JVCD faces Dolph Lundgren do we get such a satisfactory adversary, and I love "Lionheart."

If I am overlooking one flaw, it may be the trangender prisoners portrayal, but this was a prison movie from before we considered all rape to be bad. What I am saying is, it is from a time where we had no clue on how to be woke. Should we remake this flick (with Van Damme as the Guillame role), I am sure we would find performers who can make this work. Would they want to is a totally different question.

Transgender hooker, hormone-driven hackers, inflammable giants and Jean-Claude Van Damme make "Death Warrant" a spectacle not to be missed. It is good for noise and it must be great with a few drinks. The story is something to be awed by and I am surprised there has not been a new take on this.

It is "Bloodsport" meets "Batman vs Superman." Who would not want to see an hour and over done CGI removed from that? Feel free to use that for the "4K 30th Anniversary Edition of Death Warrant." And email me at russthebus07@gmail.com for a treatment of my Pro-Wrestling Zom-Com, "Main Event of the Dead" while you are at.

I mean, Orion/MGM did distribute "Mac and Me." Surely I can do better.

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90-Minute Netflix: 2047: Sights of Death (AKA Death Squad)

 

Posters with Armed Older Action Stars Best Be Expendables Knock Offs

I finished "Iron Fist" and, though I thought it was a fine martial arts series, I can only deal with so much Finn Jones (why is season five of "Game of Thrones" considered a weaker one?). Thus, with an hour and a half before the news cycle, "Defenders" was not an option. Tennis had screwed up ESPN, so I was left at a loss for live TV.

It has been a tough few weeks existentially. I have been trying to move on from the I Hotel, but what will that gain me. Less headaches for one (as I just received the call that it was a good thing that I had not purchased Riot Fest tickets). Imagine an organization whose pay roll company can screw up a payday over a holiday weekend. After they failed to take my implication that I wanted to use up my vacation time on this slow week, make believing their incompetence takes less effort that what the cast of "2047: Sights of Death" put into their performances.

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That last comparison does not apply to Rutger Hauer and Michael Madsen's performances. They seem to revel in the stupidity. Hauer seemed like he had more fun in "Death Squad" than he had when he worked with Dario Argento. Madsen seemed to enjoy his time on set with the promise of vengeance for Bill's brother bud. Otherwise, "2047" is a semi-talented cast believing there would be special effects added in post.

By 2047, the Illuminati has used their influence to destroy any country that refused to join their confederation. Being free of restrictions and regulations, the new confederacy has let most of the world become a radioactive waste land. The only resistance that seems to be making a difference is "Green War" led by Sponge (Danny Glover) with his butt firmly glued to his chair surrounded by CRT monitors and ham radios. His top soldier is Captain Ryan (Stephen "Pardon the Spelling Error" Baldwin) who was recently shot down during a mission to destroy a downed satellite that contains records of their communications.

Determined to complete his mission, Ryan trudges through a contaminated quadrant to locate the satellite. On this death march, he finds companionship from the red-painted mute warrior girl, Tuag (no photo on IMDB), a radio, and a mountain of dead bodies which could bring down the Confederation. The findings inspires him to broadcast his position in hopes that someone on their side will extract him to safety and document his discoveries. The only response that means anything since Sponge is too old for this shit is from Colonel Asimov (Hauer) who is personally going to oversee a death squad with the assistance of mercenary and harsh fellatio critic Lobo (Madsen). Will Ryan survive Beyonce's descendants and radioactive hallucinations to save humanity? Since everyone seems to have bulletproof skulls, the density of Balwin's skull may just make him invincible.

"2047: Sights of Death" makes me long for Albert Pyun's films like "Cyborg" and "Adrenalin: Fear the Rush" to be recirculated on the streaming video rental stores. He set the standard for how to shoot a bad action flick with only one set. Pyun must have a carefree personality because his casts seemed to have fun filming. A payday for community theater, why would you not be happy with that arrangement? I suppose a language barrier might make one reconsider.

"2047" was directed by Allessandro Capone, an experienced Italian-director with a resume that does not seem as varied as Lucio Fulci, hence, he does not have the sense to take a budget on four former A-listers and the worst Baldwin and just go camp with it. As the film goes on and slows down time with nonsensical revelations, Capone relies on quick cuts to try and provide an illusion that action is occurring. This leaves us watching a poor 360-degree video, but there is a story, so we are compelled to stick around for a conclusion.

No 360-degree video has a conclusion is the lesson to take away from "2047: Sights of Death." Anyone stuck in this video cannot be taken seriously. Hopefully, Darryl Hannah learned this lesson. As for Baldwin, this may be the perfect purgatory for a Trump supporter.

 

 

NinetyForChill - The #Podcast: Kumite in L.A - Bloodsport and Showdown in Little Tokyo

      

NinetyForChill.com: The Podcast

Episode 28: Kumite in L.A - "Bloodsport" and "Showdown in Little Tokyo"

(A double feature that provides the meth and sushi girls that the JCVD's film was missing).

Gregory Carl is about to set the podcast world on fire with his upcoming Jean-Claude Van Damme podcast, so he was more than welcomed to talk action movies on this pod. I did not want to tread to much on his expertise, so we talked about what I consider to be the greatest DVD two-pack, "Bloodsport" and "Showdown in Little Tokyo".

I do my best to suggest that these two features are in the same cinematic universe, but the action styles could not be more different. The Cannon Group does their best to provide a realistic tournament fighter feature while "Commando" director Mark L. Lester provides the lite version of the one man army with Dolph Lundgren. "Showdown" also provides the buddy cop dynamic (and takes it to the ultimate extreme) that Forrest Whitaker and Norman Burton lacked in the Van Damme movie.

We go on a few tangents, but what do you expect when you are discussing a "true story" about Frank Dux, the most legitimate conman that I have seen. The most unrelated would be a chat about the limited influence "Joker" will have. There is also some borderline obscene investigation into the relationship that Brandon Lee's second-billed character has with Lundgren's lead.

For a first time meeting, I think Gregory and I hit it off pretty well. Talking about Dux's legitimacy ends up exploring our personalities. As a former fighter, we get to hear me measure up guys while he is satisfied with stories about New Jack and hearing about the importance of Gary Daniels in the movie career of the Ultimate Warrior.

Like the Warrior, NinetyForChill - The Podcast is moving forward with reckless abandon. Next week, 2002's "Stealing Harvard" will be revisited. I remember it being fun, but there just seemed to be something off about the feature. Perhaps its Jason Lee and Tom Green, two perpetual movie supporting actors, attempting to carry a feature.

My scheduled guest seems a little more optimistic about this film's quality. Thankfully, they just want to focus on this feature instead of the limited prime of Green's career. I really appreciate not needing to revisit "Freddy Got Fingered", but I am itching to view "Road Trip" once again. I just love me some Breckin Meyer.

I would not mind being a couples week ahead when it comes to content, so I would love to hear from you with ideas on what to chat about. Frankly, it would be honor to host you and find out about why you offered your incite. Send an email to russthebus07@gmail.com with a movie, theme, director, or actor. If you promise to center the topic around movies between 74 and 99 minutes, audio gold should be the product.

 

If you need some suggestions, movies like "Fear of a Black Hat", "UHF" and "Walk Hard: The Dewey Cox Story" can make for a great theme. ThePoeticCritic knew that Robert Downey Sr.'s satirical masterpiece, "Putney Swope" fits the pod's time restraints. There are also Tim Burton's early classics "Pee Wee's Big Adventure" and "Beetlejuice". Or we could just focus on movies Danny Elfman scored.

 

I have been asking for weeks for assistance in composing an episode dedicated to vampire features like "The Lost Boys" trilogy, "Near Dark", and the "Underworld" movies. Here is to hoping that this bunch of critiques will stir up some inspiration in my audience to step up and hold off on the garlic. If this is a topic you up for discussing, feel free to send an email to russthebus07@gmail.com. All I need is a half hour on Zoom to get this done. 

 

I hope I am impressing or at the very least amusing you with this podcast and I am open to any and all criticism. My biggest want is more guests and more suggestions on what to chat about (@catbusruss, russthebus07@gmail.com@coolmoviesdarth). If we can get 3 hours out of "Little Nicky", the possibilities are endless. Thanks for visiting.

 

After WrestleMania Backlash, I will tell you that we need to take zombie pro wrestling back. My suggestion is that we finally get my low-budget zombie movie, "Main Event of the Dead" off the ground. The script lacks a lumberjack match, so you know it has got to be better than the "Army of the Dead" advertisement. Ask for a treatment or give me suggestions on how to get it to a crowd-sourcing stage with an email to russthebus07@gmail.com.

 

 

@AlexEveBlack - Pinterest
 

NinetyForChill: The #Podcast - ThePoeticCritic's Cinematic Chicken Salad

        Films Researched for this Episode: London Town (2016)

NinetyForChill.com: The Podcast

Episode 23: ThePoeticCritic's Cinematic Chicken Salad

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Not wanting to continue on with abbreviated episodes, Letterboxd's ThePoeticCritic was kind of enough to return to the podcast. The only issue was, what were we going to talk about? Fortunately, as long as it involves cinema, there maybe no greater mind for film history in the Heart of Illinois than that of my big sister.

She could be the Steve Austin of amateur film experts. I think she does a great job taking the chicken poo that I laid out in front of her and turning it into chicken salad. The cost for this mayo-free meal for the mind, her having me watch the Cinema Snob's review for "Captain America" 1990.

 

 

It just feels wrong for having her deprive me of a virginal Albert Pyun experience. As a fan of his schlock, there is only so much I have yet to see. I am trying to recall an unwatchable feature from his (Notice that I did not use the term good.) filmography. Hell, "Heatseeker" is a film that I am still trying to track down. Does anyone know where to stream it? After purchasing a HDMI splitter and a HDMI to Composite adapter to copy all my AEW purchases that are soon to be lost, there is no reason I cannot secure myself a grainy copy of this grainy feature that never made it to DVD.

My apologies if I lost you during that rant, but let me throw this out there. Albert Pyun directed the Jean-Claude Van Damme classic "Cyborg" and at least two of the "Kickboxer" sequels. Surely someone else appreciates his Cannon Group qualities as much as I do. Hence, who is up for a podcast about his works. Volunteers can send their emails to russthebus07@gmail.com.

 

My older sister has primarily been catching up on movies from the 1980's, but when she became aware that I have been trying to get an episode about vampire movies off the ground, she was more than willing to offer up her limited knowledge on the topic. Our discussion about "The Lost Boys" and Joel Schumacher does not get to heated because it was so easy to talk up the importance of "Near Dark" and how that the film has many parallel's with other Kathryn Bigelow features.

Through this conversation, I got to see a more liberal and open side of my big sis. We get to have a discussion about the absurdist humor of John Waters and how Woody Allen, for better or worse, is one of his closest contemporaries (Style wise, not personally). This also leads me to ask if we needed a more absurd Stanley Kubrick. What sounds better: A nuclear holocaust or a pie fight? Which way would you like the world to end?

We also again tackle how #FilmTwitter may have too many woke keyboard warriors wanting Hollywood to produce the most inoffensive entertainment. The problem is, Disney is more than happy to give it to them. Basically, I try my best to call for Critical Race Theory to be brought to film school while TPC hopes for more indie features to course correct the industry.

In the end, it turns out to be fitting that I include my review for "London Calling", a brilliantly chosen addition from Ally's Accessories Shop on Etsy's Trash Feature Reviews. At this time, we may need to deify Joe Strummer.

With that said, I have been prepping myself for a vampire-themed episode. Thus, it will not be hard for me to come up with an "preview" episode to get the audience pumped for it. If someone will let me know that they are game for talking about "Lost Boys" and "Near Dark", we will have plenty of time to record it. Just drop russthebus07@gmail.com an email. Thanks.

I hope I am impressing or at the very least amusing you with this podcast and I am open to any and all criticism. My biggest want is more guests and more suggestions on what to chat about (@catbusruss, russthebus07@gmail.com, @coolmoviesdarth). If we can get 3 hours out of "Little Nicky", the possibilities are endless. Thanks for visiting.

After WrestleMania Backlash, I will tell you that we need to take zombie pro wrestling back. My suggestion is that we finally get my low-budget zombie movie, "Main Event of the Dead" off the ground. The script lacks a lumberjack match, so you know it has got to be better than the "Army of the Dead" advertisement. Ask for a treatment or give me suggestions on how to get it to a crowd-sourcing stage with an email to russthebus07@gmail.com.

90-Minute Netflix: Future World - The Charm James Franco Was Hiding

A long 90 minutes feels like a first for me. I have seen bad and wretched hour-and-a-half lengthened features, but I could never say long. Lengthy is something that may not hold your attention, but it may not be the genre. Low budget knock offs are what Blockbuster Video fans long for. If the concept is as good as James Franco's "Future World" and featuring a Milla Jovovich role, I am in it till the last minute.

Ash (Suki Waterhouse) is a robot built at the peak of technological advancement. Realizing the history and malice of her creators that lead to an apocalypse that lacked zombies or nukes, she decides to erase her memory. It is better to be a relic than a tool. Unfortunately, an artifact is not what Warlord (Franco) and his bikers need.

Prince (Jeffrey Wahlberg) was born in the oasis, a peaceful commune in the scorched wasteland. Peace is maintained because they have the only working ammunition in the world. When Prince's mother (Lucy Liu) falls ill to the plague of the era, the red fever, he determines that by packing a little heat, he and his compadres can make it to Paradise Beach and find the cure their matriarch needs. Of course the luck runs out when they run into Warlord and his new robotic bride.

After murdering a few people and dealing with the annoyance of Warlord's presence, the awoken robot decides she needs to set some grounds for morality. Saving Prince and sending her husband on a wild goose chase seemed to be a good start. If she can get the kid to Paradise Beach and the cure, all should at least be even Steven. Surely there are no more nuts of higher acclaim in the cast. Jovovich only plays stable characters...right?

The cast of "Future World" knows what you are supposed to do with a film seeming inspired by "Cyborg 2." That is to chew the scenery and enjoy every bite of it. With Snoop Dog and Method Man in the cast, fans of B-movies know this will not be a waste of time.

You have to have a taste for the tacky to enjoy a flick like this. The actors are here to have fun and get scale. When you arrive on a "set" where it is jut a burnt out hotel with some faux graffiti, what else are you going to do? If you do not focus of being over the top, the movie is going to be "Cyborg."

Now, I dug "Cyborg" because no one seeming could act, so it is a fun train wreck. "Future World" qualifies as a movie. The script is articulate enough and it may have the talent to be a respectable "Road Warrior" knock off. It has a quest that feels like an 80's animated film, and if you have that, I will feel nostalgic. "Future World" can only be a B-flick, so it is a success.

For those who need a well-made film to keep their attention, the lack of well-made inanimate object will have you turning this title off. Wise scenery choices instead of minimal effort could have made this an American "Mad Max." I at least hope that is what director Franco was going for. Sand is the best looking part of the sets. I suppose only George Miller is the only person who can shoot that.

"Future World" was probably a wild pitch that took any money it could get. You have to respect it for letting Jovovich do what she does best. It has to be appreciated for not being overly complicated sci-fi to justify its shortcomings. And any movie with Snoop as the Love Lord is worth $1.75.

Why they didn't put that in his billing may be the dumbest thing this film did.

 

Essential Athletes and the Carnival Slide feature "Nemesis"

*Blog post started on May 20, 2020.

I think we are in dire need for sports right now. Sorry John Oliver (I have yet to watch the May 17th episode of "Last Week Tonight"). Performance art is something I deem essential because there are not enough stories about uxori/mariticide with wine-drinking accessories or armed robbery involving fruit.

Too bad Monty Python is down to three inoffensive members. You need at least four to perform an updated "How to Defend Your Against Fresh Fruit" sketch. With Carole Baskin and the NRA, it would be quite topical.

With sports, I at least have something to talk about with the guys at work. As an underemployed pro-wrestler (My gear bag is still in the trunk of my car if you need someone to do a favor.), I can handle only performing in front of my peers. No pressure from the crowd meant I could focus on just having fun and my performances were usually better. As long as you got the boys/girls from the locker room providing immediate feedback at ringside, you know what directions to take. At least AEW is showing us that.

At my current, essential job, there is a chance I can be exposed to COVID-19 by my coworkers, but as long as we are not sneezing or licking the cash and receipts, our customers are quite safe. The point is, when the risk is only applies to the staff while all conceivable precautions are taken (I can see the Cubbies wearing masks.), the performers should be allowed to perform. Provided they feel safe performing of course. I just know there are those who would be happy to.

As for my stance about the lockdown, to channel my Maynard James Keenan: Fuck your God, your lord and your haircuts. Learn to appreciate your liquor stores and iTunes.

It is way too easy to get through well organized news websites. Sorry New York Times (Having your website look like and actual newspaper does not work.). I suppose the answer to that is to just binge TV shows to provide me something to write about or really step up my movie consumption. 

The problem with TV is the episodic nature. This means to judge it fairly, I need to review each episode. Episodic programming is way too accessible now, unlike the good old days of anime fandom where I got a two episode tape a month (probably closer to weekly) and could quit buying tapes if I got bored.

A bad episode review, and I could move on to the next show. When the next episode is set to autoplay, I will think to myself, "Maybe it is just the storytelling method, so lets go another hour."

As for watching more movies, I am cursed by the fact that the established great directors and the blockbuster dependent all think there story requires more than 1 hour and 37 minutes (give or take A MINUTE). My website that is dedicated to the ideal runtime ninetyforchill.com needing content results in me having to watch films of lesser quality. Being an aspiring screenwriter/producer (If you would like a treatment of my zombie comedy about pro-wrestling "Main Event of the Dead" feel free to email russthebus07@gmail.com for a copy. Any suggestions on how to get the project out of development hell would also be appreciated.), the effort displayed to make a great film with so many obstacles is appreciated, but one can only watch so much Albert Pyun, Christopher Lambert, or less than 1980's Newline Cinema budgeted movies per week.

Despite the struggle, there is no excuse for me not to watch at least one questionable sub 100-minute feature and Amazon Prime has got the algorithm down. They offer me so much stuff that is up my alley, I really wish they would list the directors in the information about them. Fortunately, since I just bought "Iron Eagle", a Tim Thomerson film seemed appropriate. Throw in a knock off Van Damme in Olivier Gruner along side Cary-Hiroyuki Tagawa, and I think we have a project with potential. As the credits rolled and "An Albert Pyun" film, hopes arose that 1992's "Nemesis" was going to make my week.

Nemesis

In 2027, the Los Angeles Police Department has become the most powerful investigation force along the entire Pacific Rim. Their primary concern is cyborg terrorists and their top agent, Alex Rain, has no issues dispatching them. With such unnatural enemies to deal with, Rain's efforts to defend humanity has ironically left him more and more synthetic. He develops a hate for this and decides to leave not only the crimefighting behind, but his synthetic girlfriend Jordan too.

Unfortunately, to keep on living in his cybernetic shell, dealing in questionable tech was Rain's only retirement option. His skills in the criminal field are not what they were on the other side, and he is eventually captured by the LAPD. Capture may be too harsh a word, lets use the term recruited. Jordan had decided to join the terrorists and stolen some sensitive data from them. Rain is the only person who can possibly get close to her and by installing a bomb in his heart, surely he will be up for the challenge.

Rain is fed up with everyone being unable to tell who is right and who is evil. His goal is only to find the answers and hope that he can find a reason to carry on. Punishing everyone who has wronged him would be a nice bonus.

I can see why "Nemesis" could be declared a hit and justify four sequels. The special effects and themes are intriguing enough to inspire a kid with the VHS to rewatch it multiple times to make sense of the damn near incomprehensible first act. The action of the latter two acts is laughable to the point where you will stick around this film to the end because of that.

You have to admire that the film spent so much on explosives, but for someone who opposes the second amendment in its entirety (Go bowhunting assholes.), I know that shot guns do not work like that. They are not long range weapons, so I would have had more appreciation for the gunplay if they would have painted squirt guns black.

As for the rest of the action, Olivier Gruner was an accomplished kickboxer. Let him kick stuff. The best hand-to-hand combat takes place as he and Pyun regular Thom Mathews are fighting over a gun down an obvious carnival slide. I have to admire the B-movie charm, but you have put a little too much into the special effects to try and slip this by the audience.

Bad Movie Tuesday: Nemesis

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Gruner's acting is not that bad, but if you need a stern foreigner, get Daniel Bernhardt, the original JVCD clone. His accent is less noticeable. Gruner may cry a little better and Bernhardt's latest renascence is as a silent heavy ("John Wick" and "Atomic Blonde"), but when the dialogue for the most part has little value, going for emotional seem pointless.

I cannot help but wonder if Gruner's French accent is the motivation for Brion James to go all out with a German accent. It does not come off as well as his English accent from "Tango and Cash" but it adds to the fun. Tagawa puts more effort into his Japanese accent than he did in "Showdown in Little Tokyo" so that is another plus for the film.

All the actors go for it except for Majorie Monoghan as the love interest. She seems to have motivations mixed up. Yes, the character is a robot, but to prove how close to humans they are, emotions are essential. Otherwise she comes off the same a Thomas Jane's cameo.

Despite all these short comings, the visual effects make up for it. The only time they fail is the stop motion integration of its "The Terminator" finale knock off. That sequence would overshadow the great practical effects if it was not such a blatant rip off. When you are watching a film like this, you expect to see blatant, low-effort theft. It adds to the charm, so you do not get angry.

"Nemesis" is the "Cyborg" that Albert Pyun meant to make. It has great visual effects for the most part, great sci-fi concepts, marvelous over acting, and laughable gun play. Too bad that paying attention to this feature dialogue may reduce your IQ and the plot is nothing more to warrant special effects. This feature may have fallen into the wrong hands from an artistic standpoint, but for a lazy, action starved audience, it is mana from the gods.