The 13th Warrior: The Most Ultimate Action Viking Movie Ever!

Michael Crichton, John McTiernan and Antonio Banderas give us the Viking action flick for the ages with ‘The 13th Warrior‘ (1999).

The Viking culture was just as rich and complex as any other ancient or medieval culture. Yet mostly the image of Vikings as fearless and ruthless fighters with an excessive taste for sex and alcohol has manifested in our modern world. And based on those clichés, they make for perfect protagonists in action movies, of course!

The first attempt was the Kirk Douglas flick The Vikings from 1958 which already was a pretty good swashbuckling adventure. After that, every once in a while another Viking movie would surface, but it wasn’t until 1999 that Hollywood decided to go all in on the topic, and produce The 13th Warrior.

It also was not the last movie to utilize a Viking theme, with the most notable movies from recent years possibly being Outlander and Valhalla Rising. Outlander certainly is a fun movie, but gives a rather superficial treatment of the Viking culture. And while Valhalla Rising is arguably a masterpiece, it does not really qualify as an action movie.

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John McTiernan and Michael Crichton Present…

The 13th Warrior is based on the book “Eaters of the Dead” by Michael Crichton. A group of twelve mighty Viking warriors is selected to travel to the aid of king Hrothgar whose kingdom is terrorized by an army of monstrous creatures. The Arab diplomat Ahmad Ibn Fadlan is selected as the thirteenth warrior, and fights along the Vikings on their heroic quest. The story was inspired by the historic testimony of the real-life Ahmad Ibn Fadlan about his encounters with the Vikings, and by the Danish epic Beowulf.

Directed by John McTiernan with a budget of a whopping 150 million USD, the raw cut of the movie was heavily edited after unfavorable test screenings. Michael Crichton himself re-shot some scenes, but the movie still was a giant box office bomb. Reasons for this may be that thematically it was an outlier from the usual blockbuster movies, and did not have a cast or director of superstar status at the time, but certainly not because it was a bad movie.

The story starts with an interesting exposition that shows a sort of Meet & Greet between Arab and Viking travellers. It also features actor legend Omar Sharif in a small and rather disappointing role. The friendly clash of the two cultures clash is certainly amusing to watch, and especially the existence of language barriers is portrayed quite creatively. To do the heroic Viking culture justice, it’s important to create a proper epic vibe, and the 13th Warrior succeeds in this on many fronts.

There are the Viking warriors themselves, who check all the boxes for muscular and rough battle-tested heroes. They’re more than just cut-and-dried characters, though, all performances of the bunch are enjoyable and convincing. The breathtaking panoramic landscapes of the misty (Canadian) forests and mountains serve as a monumental backdrop for the story, and are just a joy to watch. And the soundtrack by Jerry Goldsmith was arguably the most epic score to be heard in a movie theatre at the time since the Conan movies.

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Antonio Banderas: The Original Viking

I’m not an expert on Scandinavian history, but nothing presented in the movie on Viking culture looks suspiciously off, other than a couple of anachronistic armor pieces worn by some of the protagonists. All the popular Viking tropes are included, like longships and longhouses, fervent prayers to Odin, and excessive consumption of mead.

Fortunately, nothing comes across as kitschy or cheesy, but if historical accuracy is really important for you, please consider The 13th Warrior is an action-adventure first and foremost. Yet I believe one reason why the movie works so well is that it does actually dedicate quite a bit of its runtime towards displaying and occasionally even discussing relevant aspects of Viking society, and this really contributes to the immersion for the audience into the setting.

Antonio Banderas takes the lead role in the movie, and gives a charming performance as kind-hearted and frequently bewildered Arab emissary to the Vikings. His character does not really drive the story, for the most part he’s an observer of what’s happening, even though he knows how to stand his ground. He certainly adds an interesting contrast to the band of Vikings, and the cultural differences are a source for occasional humorous scenes in an otherwise fairly serious movie. The 13th Warrior certainly has its share of gloomy moments, and even a couple of genuinely scary sequences.

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Antonio Banderas, Diane Venora, Dennis Storhoi, Vladimir Kulich, Omar Sharif

The centerpiece of the movie are the skirmishes between the Vikings and their unrelenting bestial enemies. The brutal attacks of the savage foes emerging from the mist are staged intensely and with good momentum, with the night-time combat sequences being done particularly well. As opposed to the usual night action scenes where there always seems to be an unidentifiable light source to create visibility, it’s actually convincingly dark.

Yet the lighting from the torches and other fires shown on screen is utilized very effectively to make sure we’re just seeing what needs to be seen to follow the action, and nothing more. There’s also a good deal of horseback action with frenetic riding over difficult terrain or during battle, for which the stunt team needs to be applauded. The 13th Warrior also does not skimp on graphic violence, there’s plenty of blood, impalement and beheadings during the numerous sword fights. In between the combat sequences there’s countryside exploration, village politics and romance to provide some relief of tension and do some world-building.

The 13th Warrior is an incredibly entertaining action-adventure that is properly embedded into a historic setting. It fully immerses its audience into the Viking era through its impressive visuals, enjoyable characters, and plenty of ferocious melee combat action.

Why The Original ‘Expendables’ Was the Best of the Franchise

A look back at the ultimate 80s/90s mashup actioner The Expendables 10 years later!

The Expendables was released in 2010 and brought to pass every 80’s and 90s kids dream of having the crème de la crème of action heroes together in the same film. And what a film! The Expendables starred Sylvester Stallone, Jason Statham, Jet Li, Dolph Lundgren, Bruce Willis and Terry Crews, and was a nod to the 80’s and 90’s action films that we all grew up watching with gory cartoon-ish death scenes, brutal hand to hand fight sequences, explosions, shootouts, a whole load of testosterone and practical action sequences rather than visual effects driven set pieces.

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Sylvester Stallone Presents The Expendables

The plot of The Expendables is about a group of mercenaries hired by a CIA operative to overthrow the leader of a fictional island called Vilena. The plot is secondary; the action scenes are really what captivates the audience. 2010 wasn’t a particularly good year for films but with hits like Shutter Island, Inception, Kick Ass and The Other Guys, The Expendables was the mindless but entertaining summer blockbuster that everybody needed.

The first Expendables is my favourite and in my opinion the best as actor, writer and director Stallone brought his knowledge and experience of what works in action movies to the table. After starring in hits such as Rambo, Cobra, Cliffhanger and Demolition Man, it’s fair to say that Stallone knows what an audience wants.

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The Most Ultimate Cast Ever Assembled

What makes this film even more enjoyable is the comradery and seeing this cohort of movie stars gel together so well. Jason Statham and Jet Li are established stars and to see them demonstrate their skills in an action film was a real treat, and seeing Jason Statham go on to showcase his comedic ability in Spy, Fast and Furious and Hobbs and Shaw shows that Jason Statham has a number of strings to his bow. Randy Couture and Terry Crews showcased strong action star qualities and have built a loyal fanbase as a result.

There are two highpoints in the film: seeing Dolph Lundgren and Sylvester Stallone share a screen for the first time in 25 years since Rocky 4 and the piece de resistance was seeing Bruce Willis, Arnold Schwarzenegger and Stallone share the screen for the first time. When these two moments happened during the film, the audience I was in went nuts! Arnie is on deadpan form and steals the scene perfectly and the three would go on to share action scenes together in Expendables 2.

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Mr. P Reviews The Expendables

I had gone to see The Expendables with my friend Joe, and when the film ended we left the cinema on such a high and full of nostalgia as it was the type of film we had grown up watching. The finale sequence at night was just an all out action fest of shootouts and bone crunching fight sequences and sly humour and seeing our heroes riding off on their bikes to the tune of Boys are Back in Town by Thin Lizzy was the icing on the cake.

While first Expendables was dark in action, humour and in tone, the sequels though entertaining were lighter in tone and leaned towards the humour. The original gives you everything you need and ten years on still does not disappoint.

MR P grew up in London has been a film fanatic for as long as he can remember always watching films and grew up watching hi-octane blockbusters from the 80s and 90s like Terminator, Commando, predator, Tango and Cash, Double Impact, Beverly Hills Cop, Die Hard, Speed and so many more. Mr P decided to turn his love for watching films into a hobby by creating his own YouTube channel – The Mr P Film Review!

Firewalker: Chuck Norris Brings the Fun, Flaws, and Flying Kicks!

Taking a look back at another Chuck Norris Cannon Films classic in Firewalker (1986)…

Chuck Norris, Indiana Jones-style adventure, lost treasure, buddy comedy humor, aggressive mystical Indians, an unrelenting communist warlord, what could go wrong? Firewalker has all the elements of a fun Cannon-fueled schlock fest but the would-be, quintessential action B-movie strays into an entertainment no man’s land. It lies somewhere between “best of the worst” and legit action/adventure flick.

The typical Cannon craziness and violence are throttled a bit to boost the comedy stylings of Chuck Norris, Louis Gossett, Jr., and Melody Anderson. Despite its shortcomings and attempt to play it safe, Firewalker is worth a viewing for action fans looking for some airborne butt-kicking and lighthearted adventuring down Mexico way.

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Action + Comedy = Ultimateness!

Action/thriller veteran director J. Lee Thompson does a respectable job integrating comedy into the action sequences. From Chuck Norris’ Max and his inability to shoot straight to Louis Gossett Jr.’s Leo picking a fight with the wrong dude, the yuks and the kicks blend seamlessly. The characters’ precarious situations involving narco-gangs and dune buggying mercenaries are punctuated with sight gags and occasionally effective one-liners.

The attempts at humor in the dialogue and during the many scenes of downtime are another story. We all love Chuck but I don’t think many would praise his acting skills or range of on-screen emotion. This is his first comedic role and unfortunately he didn’t learn his lesson as we get subjected to Top Dog and Sidekicks later in the 90s. Max is a bold, but not too bright, adventurer who punches and kicks his way through the many obstacles in his path. The humor plays on the character’s brash, devil-may-care attitude, which leads his partners from one calamity to another. He’s supposed to be like a Jack Burton and an Ash Williams rolled into one, but it doesn’t quite work and Chuck isn’t quite able to pull it off.

He still shines in the straight-up action scenes, particularly when he takes on an entire bar during a busy Friday night. He just rips right through them with a series of choke holds, roundhouse kicks, a rare roundhouse punch, and a flurry of additional punches that send patrons flying through every available window and door. Max even has time to take a quick breather and a beer between waves of thugs. It’s understandable; all those high-flying kicks delivered with optimal precision take a lot out of you.

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A Cannon-esque “Story” with a Strong Supporting Cast

FIREWALKER, Louis Gossett Jr., Melody Anderson, Chuck Norris, 1986, (c)Cannon Films

The plot and narrative elements are silly and forgettable but, like other works in the Cannon filmography, there is at least one fascinating theme to keep your interest. Melody Anderson’s Patricia, who seems to be struggling with a cognitive disorder for half of the movie, approaches Max and Leo with an offer to assist in finding hidden Aztec or Apache gold (it changes from scene to scene) and the three of them can split the profits “50/50.” It’s amazing that she seems to recover from her mental condition by the third act when she becomes the love interest/damsel-in-distress.

Standing in the way of their windfall is El Coyote, played wonderfully by Predator’s Sonny Landham, who definitely needed more screen time. He’s not interested in the loot, though. He wants to acquire the unlimited powers of the ancient priest, the Firewalker, which he can summon by plunging a mystical dagger into Patricia while wearing a colorful, feathery ensemble.

Helping Max, Leo, and Patricia along the way are Tall Eagle (Will Sampson, “Chief” from One Flew Over the Cuckoo’s Nest) and Corky played by John Rhys-Davies, who hilariously tries to do a Southern accent. These are two strong performances that attempt to build a world around the events and characters in Firewalker. Tall Eagle reveals the Firewalker legend and El Coyote’s designs. He also combats El Coyote’s attempts to assassinate Max by proxy, using remote mind control powers. The Native American mysticism is an interesting thread and gives the movie some depth. We could have used more of this to ramp up the fantasy and even some horror elements.

Corky, the drunken Marine veteran expat, leads a band of mercenaries from his jungle basecamp in hopes of one day taking control of the country? I don’t know, but he has lots of booze to share and he knew Max from back in the day, so he’s good for some back story. He’s set up as a tragic, wayward figure that serves as a warning for Max’s possible future if he continues his directionless life. Again, this is another attempt at depth and character development but ultimately it has no bearing on the narrative. Great performance and an interesting character but ultimately, quirky Corky serves little purpose.

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But How Ultimate is it?

Editing, pacing, and focus hold Firewalker back from being as Ultimate as it could be. It’s two hours long(!) and it feels its length with several scenes that involve talking in the hotel, talking around the campfire, and figuring out to escape capture that involves more talking. Some of it is OK and Louis Gossett, Jr. and Chuck Norris are allowed to develop some chemistry, but Melody Anderson seems like a rusty third wheel that serves little purpose and intermittently slows things down. Added characters like Corky and plot lines like Patricia’s psychic powers, go nowhere or don’t pay off in any meaningful way. Basically 20 – 30 minutes of this movie wouldn’t be missed.

Homing in on the action, physical comedy, and mysticism would have elevated Firewalker to cult status. The audience for an action-driven, Indiana Jones parody assuredly exists. J. Lee Thompson knew this at the time, which is why he made King Solomon’s Mines a year earlier. Trying to do too much with way too little, in terms of budget, acting range, and story, led to a mediocre reception and a mostly forgotten legacy that wound up at your local thrift store’s VHS rack.

Despite its flaws, Firewalker is still a delightful romp through sets that look like they were later used in Legends of the Hidden Temple. With just enough action, laughs, and groan-inducing dialogue, this buried treasure is worth digging up and adding to your Cannon collection. Amazon Prime Video also recently released it to their streaming service, so add it to your queue. Firewalker is also one of the rare Golan-Globus productions that’s relatively family friendly. Share your love of 80s and 90s action with your kids. Get them hooked early and prepare them for more advanced material…like Ninja III: The Domination.

Blue Steel: Combining Social Horror and Ultimate Action for a New Look

Kathryn Bigelow and Jamie Lee Curtis team up to create one of the most enthralling action thrillers of the 90s – and why you should revisit it today.

I’m not going to make one joke about Zoolander and his “Blue Steel” look. Not even one joke. And it’s not because it’s kind of a funny coincidental connection between the Zoolander shtick and Kathryn Bigelow’s serious minded 1990s action thriller, but more so just because I can’t think of one. Not a single joke. If anything the only thoughts that crossed my mind watching Blue Steel for the first time here thirty years after it first came out, and having seen Zoolander 30+ times mostly during one summer while I was in Junior High, is that somehow I felt like Ben Stiller was perhaps trying to mirror Jamie Lee Curtis with his pointed face caricature in Zoolander… but that’s not really a joke. And I wouldn’t know how to prove that either.

This review is going awfully so far… Anyway, Blue Steel was a great discovery for me personally. I love Point Break. It’s probably my favorite movie of all time. And not just action movie. Or Keanu Reeves movie. Or Patrick Swayze movie. It’s my favorite MOVIE movie of all time. I’ve seen it 1,000 times and I could literally put it on right now and enjoy the hell out of it.

That being said, it never quite occurred to me to make a dive into Bigelow’s filmography enough to try out some of her other classics. So, when I did finally stumble upon Blue Steel, a title that caught my eye both for its Zoolander name, plus a really badass VHS cover, I quickly decided this was probably a movie almost perfectly made – but expertly hidden for years – movie for me.

And… I gotta say… This movie is awesome! It’s got everything you’d want in a classic actioner – plus then some! And by then some, I mean if you also like slasher and horror films, then Blue Steel has tons of those goodies too. Overall though, it’s just super interesting to watch Bigelow hone her craft. Her filmmaking, along with Jamie Lee Curtis’ lead role, are a potent combination that probably could pull off any number of great action and horror films from the 90s until today.

Anyways, Blue Steel. Great title. Awesome poster. Amazing lead. Killer action. Let’s dive in.

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Guns, Violence and Action

So, now currency watching movies in throngs of this COVID lockdown era and the clamor for social reforms – many of which revolved around policing and the use of armed force, Blue Steel is a fascinating study. Curtis portrays Megan Turner, a NYPD patrol officer who has just joined the force. In an early episode, she’s forced to pull her firearm to take down a convenience store hold up (with a great cameo by Tom Sizemore). This encounter will shape the narrative for the rest of the film – but not necessarily for any ways you might expect. I certainly didn’t.

Sure, we get Curtis called into the chief’s office and the run of “you’re a loose cannon” speeches, as well as the interesting angle of how this plays with her being a female cop in a classically chauvinistic male-dominated police force, but the crux of the movie develops from her gun (a .44 Magnum) which she accidentally leaves behind and is taken by a bystander who develops an odd fixation with the weapon. Which leads into…

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Jamie Lee Curtis vs. Ron Silver

In what appears to be a passing role, or maybe even a joke along the way to her journey to be a badass cop hero, this bystander – a white collar commodities trader (Ron Silver in an absolutely terrifying role) – becomes the main antagonist of the film as he stalks, courts and obsesses over Curtis and her gun. Believe me, it’s weird. But to his credit Silver plays the creep to perfection, which provides the perfect forum for Curtis to step up and shine.

So, instead of a standard tough cop taking down a drug lord or fighting off terrorists, we actually get this odd psychological horror / slasher film as Silver goes on a serial killing spree while developing his insane stalker-obsession with Curtis. Who, unknowingly at the time to her credit, ALSO develops a romantic relationship with Silver that culminates in some very insane scenes in the bedroom – of course.

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But, How Ultimate is it?

This movie is great, but sadly it didn’t do very well when it came out and was largely considered a box office dud. Even with positive reviews and Roger Ebert calling it “sophisticated update of Halloween” which could have ended up as just an iconic franchise based on Curtis’ performance, it’s not that well known. The only reason for this that I can guess is that it’s a movie that doesn’t quite fit into an exact genre box. It starts so much like a generic actioner that pits Curtis as the female equivalent to Stallone in Cobra perhaps, but then falls so much deeper than Cobra would ever dare into the psychological horror that a bad guy can actually perpetrate.

The action scenes are top notch though. I really believe that Bigelow has a mastery of action and the shootouts alone in the beginning are worth the watch. Also, I’m not a huge stalker expert but the whole psychotic killer writing your name on bullet shells story works precisely with twists and turns at every turn. Overall, if you’ve seen Zoolander but not Blue Steel, you’re missing out on the absolute banger that much more deserves the space in popular culture.

Introducing the Abrasive European Action of ‘Dobermann’

Profane, brutal and downright ultimate!

French action movies were not really a force to be reckoned with until Luc Besson entered the stage with the stylish classics Leon and La Femme Nikita in the early 1990s. In 1997 Dobermann came out, and while Besson was not involved in the making of the film, I believe he needs to be thanked for paving the way for a movie like it.

On the other hand, Dobermann makes every Luc Besson movie look like child’s play. Dobermann was directed by Jan Kounen, whose only prior credits were a couple of music videos for British synthpop band Erasure, and while music clip aesthetics are utilized in Dobermann, it could not be further from an Erasure video.

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Jan Kounen’s Dobermann

The gangster Dobermann and his gang terrorize Paris with their robberies. The police pick up their trail, but fail miserably in capturing them during one of Dobermann’s raids on a bank. The sadistic commissioner Christini makes it then his personal mission to hunt down Dobermann on his own account by the most brutal means possible. The plot of Dobermann is almost embarrassingly simple, but the focus of Dobermann is elsewhere, and that is on relentless spectacle, mayhem and action. Everything about the movie is in total overdrive mode.

First, there are the larger-than life characters of Dobermann and his gang. Driving around in high-end sports cars and carrying the largest handguns that exist, they are all a deranged, but strangely funny and charismatic bunch. Actors Vincent Cassel and Monica Bellucci (who were married at the time) lead the pack with their enjoyable performances, and went on to become superstars after Dobermann. Their psychopathic antagonist, police commissioner Christini, is portrayed by Tcheky Karyo who is a renowned actor in France. Outside of France he is mostly recognized for his other villain roles, such as in Kiss of the Dragon, James Bond: GoldenEye, and the first Bad Boys movie. If you think he was bad-ass in those movies, think again! His performance in Dobermann is so vile and intimidating, you need to see it for yourself.

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Natural Born Killers – but with more Action!

I think it’s fair to argue that Dobermann was inspired by other “chatty” and hip movies of the time such as Natural Born Killers, Pulp Fiction and Trainspotting, but the slick and foul-mouthed dialogues are really the only thing Dobermann shares with its peers. Dobermann is an all-out assault on viewers senses, and in that respect, it’s only spiritual companion from the time may be a movie like From Dusk Till Dawn, which had a very different setting, though. Just as with its peers, many of the dialogues just seem to be there for their own sake, and not really to move the plot forward. That’s no problem, though, as they are highly entertaining in themselves, and have no idle moments.

Dobermann is filled with profanity and brutality. The humor is fairly crude, and the characters all behave in fairly extreme ways. The action is ferocious, and all these things make it completely understandable that Dobermann may not be to everyone’s liking. Also, many jokes wouldn’t fly today anymore in an A-list production, as they would not be considered to be agreeable for the majority of cinema audiences. Yet Dobermann is far from being a sleazefest, as nothing can be taken truly seriously, even the most dramatic scenes in the movie. The hyperbole in the dialogues, characters and set pieces permeates everything. It is truly a comic book come alive, more specifically an adolescent boy’s favorite comic book.

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So, How Ultimate is it?

The crazy dialogues are complemented properly by high-octane action scenes. They are fast, stylish and filmed with great timing. Utilization of unusual camera perspectives an a pumping electronic music soundtrack also help to keep the adrenaline level high. The last third of the movie is a delirious, stroboscopic bloodbath with an intensity I have rarely seen in an action movie. Filmed partially from the perspective of some of the characters being high on drugs, it’s almost an acid trip in itself, but an ultraviolent one.

Dobermann will divide viewer’s opinion due to it’s abrasiveness. Irrespective of this, it is a highly energetic movie with a cast of charismatic actors, and incredibly tight action scenes. It is one of the all-time masterpieces of European action cinema.

How Arnold Schwarzenegger’s ‘The Running Man’ Remains Poignant Today

A look back at how Arnie’s dystopian sci-fi ‘The Running Man‘ remains a relevant – and ultimate – action classic!

With everything going on in the world right now I can’t help but be reminded of a classic action movie I grew up watching constantly. One that mirrors the everyday horrors we see on the nightly news (I know it’s a 24-hour news cycle, but I still remember Tom Brokaw). Riots, heavy presence of militarized police, world economy at risk, T.V. and other forms of media controlling what we see and consume, not knowing if video clips had been altered to skew the opinions of the people….  What movie could I possibly be referencing, there’s no way any sane person could have written or predicted this in any form.

Well…. you’d be wrong in that assumption.

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The Running Man Over 30 Years Later

The movie is 1987s The Running Man starring everyone’s favorite action star Arnold Schwarzenegger as wrongly convicted police officer Ben Richards. The movie begins with an ominous opening scroll laying out the dystopian landscape the world has found itself in, describing that the world economy has collapsed with food, natural resources (maybe toilet paper), and oil are in short supply. A police state divided into paramilitary zones ruled with an Iron Hand as well as controlling the television and entertainment industries.

The only the release the masses have been given are in the form of television programming and game shows, not just any game show will do but the number one rated show in the whole wide world ‘The Running Man’. A show designed to distribute justice to the worst of the worst the state has deemed guilty, a show created and hosted by one-man Damon Killian played to perfection by Richard Dawson (yeah, the family feud guy). Where the guilty are given a chance at a reduced sentence maybe even parole if they can survive three hours against ‘The Stalkers’, think American Gladiators but with actual weapons and permission to kill their opponents.

While we haven’t quite gotten to the televised executions part in this day and age, we do have some pretty ridiculous shows that are more akin to the one they showed called ‘Climbing for Dollars’ so don’t lose hope just yet. But we can book a flight from the comfort of our own homes with just a few clicks on the computer so we have that going for us. During my recent research about this movie I had to do some digging into who in their right mind would write something like this, I mean it had to be someone with a bit of a twisted mind and sense of humor.

To my surprise the movie is actual based on a novel by the same name and was written by author Richard Bachman, ok and…. sounds like just some random author that their story was stumbled upon. You’d be wrong in that assumption as well because that name is actually a pseudonym for none other than Stephen King himself! Starting to make a lot more sense now doesn’t it, the master of horror writing about something that could happen for real is in my mind a lot scarier than monsters and ghosts.

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Ultimate Action and Sci-Fi Adventure!

The movie itself is pretty much a nonstop action sci-fi adventure and quite possibly has the absolute most amount of one liners spoken by Arnold ever put in one of his movies. Seriously he had a line for just about every situation in the movie, from joking about the prison fight “who was acting” to telling Amber (Maria Alonso) to throw up on him “go ahead it wont show on this shirt”.

And of course, he’s able to work in his famous “I’ll be back” only to be outshined by quite possibly the best comeback ever spoken by the villain “only in reruns”. He has a quip for every stalker he kills along the way from Sub Zero now being known as plain zero and how Buzzsaw had to split after cutting him practically in half. It wasn’t just the bad guys he had comments about, he also threatened his companions during the game by telling them “if you guys don’t shut up, I’m gonna uplink your ass, and you’ll be underground”. It just wasn’t an action movie without one liners in my opinion.

So, let’s talk about what made this movie so memorable for most people…the Stalkers. Remember this movie came out before American Gladiators (1989) and was even the inspiration for the show, talk about life imitating art. By the time I was old enough to watch The Running Man I was already well versed in American Gladiators and WCW/WWF so of course this movie struck a chord within me when I first watched it. Seeing each Stalker come out to their own individual intros like Sub Zero cutting the gong in half, Buzzsaw cutting the metal beams, and even Dynamo singing opera as he electrified his sign with his name glowing in bright neon. It was just a spectacular display of over the top showmanship and by god I loved every single second of it! Not to mention the dancers adding some flamboyance to the show, fun fact the choreographer for the dancers was none other than Paula Abdul, neat huh?

All this culminated into the final battle sequence between Ben Richards who had swayed a majority of the audience into cheering for him as he killed each Stalker and Captain Freedom played by the most recognizable actor a kid like me would’ve known at the time, Jesse the Body Ventura. I remember being amazed by the futuristic technology that they used to make it look like Captain Freedom killed Ben Richards only to find out it was a stunt double, it just seemed so farfetched at the time (not so much nowadays what with deepfake tech).

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Time for a Running Man Reboot?

This movie still ranks pretty high on my list of must watch action movies when someone asks me my recommendations and what I’m about to say may be considered controversial even sacrilegious…. This movie needs a modern reboot! Okay settle down, put down the torches and pitch forks and hear me out for a minute. Just imagine this movie with the actual CGI tech we have available to us now, so much of this movie has actually became reality already, that combined with an endless list of people to portray Stalkers new and old with cameos and Easter eggs for miles.

Now I’m usually right there with you about not messing with the classics but, there is just something about this movie that could be done in a more modern setting and introduce an entire new generation to a movie we love only if the right people got involved and gave it the justice it deserves. I just recently introduced my teenage son to this movie and I had more fun watching his reactions than the actual movie, it took me back to a time when my dad let me watch this for the first time only now I know how he felt letting me watch it and at the end of the day that’s what makes these movies great.

When the world seems like its too much to handle, go home turn off the talking heads, pop some popcorn and load in an action classic…you wont be sorry!

Article by Charlie Chase – author bio: Growing up in rural Virginia most of my favorite memories are usually tied around action/sci-fi movies, and I’m now able to share those movies with my oldest. I have a passion for action movies especially, so much so I created a Facebook group called Give Me Back My Action Movies where we can discuss what made early action movies far superior to what Hollywood makes now. And because I crave talking about them so much, I decided to jump into writing about them and so far, I’m loving it so I hope I do it justice.

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Unhinged: Russell Crowe Finally Lets Out His Inner Madman

Russell Crowe is… The Ultimate Mad Man!

Once in a while a film comes along that delivers on its promises… And Unhinged is that kind of movie. It’s got thrills, bloody kills and Russell Crowe eating scenery like it’s going out of fashion. I was thoroughly delighted with the nasty little B-movie that pulls no punches and manages to somehow deliver a message amongst the carnage.

UAMC Reviews Unhinged (2020)

Crowe plays The Man, we never find out his real name, a crazed, newly divorced nobody who has just murdered his ex-wife and her new beau. Driving a monster pick-up and sporting body language that would scare Jason Voorhees, he establishes himself early on as a formidable threat with the double murder mentioned above. I was immediately taken with how old school the film treated its carnage. 

Every film has to have a hero, and ours is single mom Rachael (Caren Pistorius), who from establishing scenes, is struggling with her new found singledom and juggling a career, and being a parent. Highly disorganised and sleeping on a sofa, it doesn’t take long for Rachael’s life to turn to hell. It gets worse when she goes bumper to bumper in peak hour with The Man. 

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A Mix of Scares and Action

What should have been a simple misunderstanding, escalates into a full road rage incident that ends up with Rachael becoming the target of the murderous Crowe. Over the course of that day, The Man harasses, threatens and murders key people in Rachael’s life and if you think we’re  gonna get the PG-13 Disney version of Fatal Attraction, you’re wrong. DEAD wrong!  

Unhinged wastes little time setting up its characters before throwing down the gauntlet. The film, despite its worn out genre and conventions, manages to pull off a couple of rather effective jump scares that left the audience gasping in my screening, and good news for action aficionados who like things real – it looks like most of the films driving and chase sequences were performed in camera – no lame CG or cars defying gravity that have become the norm in soulless big budget Hollywood pics of late.

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But, How Ultimate is it?

The bloodletting in the film is brutal and savage and will catch you off guard, especially the final kill. Newcomer Derrick Borte directs the action with an assured style and keeps things simple and the movie is better for it. If I had to compare this film to others, I’d say it would fit in nicely with early 90’s thrillers like Pacific Heights or Single White Female, with Crowe delivering a truly demented performance that would make Sir Anthony Hopkins blush. 

All tech credits are top notch with DP Brendan Galvin, fresh off the superlative Last Blood, doing another great job capturing the action and death, and composer David Buckley proves again he’s yet to deliver a bad score. His electronic beat is unsettling and perfectly fits the tone of the grim pic.

Overall, Unhinged was a nice surprise. Highly original? No. Fun and action-packed? Yes. Crowe completely owns the role of the crazed madman, and if I had to complain I’d say my only real problem with the film is that the heroine never rises above the rank of damsel-in-distress. She’s no Clarice Starling, but it’s a small gripe for an otherwise excellent thriller. Unhinged delivers! 

From a small country town where not many films played, Kent Church grew up on a steady diet of Coca Cola, horror magazines and action movies on VHS. If the movie didn’t have Chuck Norris or Eastwood on the cover, he wasn’t interested. His one core belief: Arnold Schwarzenneger must be President!! And James Woods Vice–President…

Ranking the Top 5 Albert Pyun Action Movies

The best and most ultimate from acclaimed action movie director Albert Pyun!

Albert Pyun had a long career in the movie industry, spanning more than three decades. Unjustifiably accused of being one of the worst directors of all time, he undoubtedly was involved in several films of less than average quality. On the other hand, his creativity and talent for creating eclectic and atmospheric settings are evident in many of his works. His best movies had a juvenile, naive vibe where he light-heartedly combined existing themes and tropes from film history and pop culture. This approach ultimately made them incredibly charming, it just seems that he was rarely able to pull together a consistent movie, be it for budget or other reasons. 

But sometimes he succeeded, and in this article, I’ll discuss five of Pyun’s entries into the action movie genre that I can recommend without reservation. Of course this list is subjective, and a notable omission are his fight action movies like Kickboxer 2, Heatseeker and a few others. While some of them had decent action scenes, everything else about them was too lackluster to be included in this list. His best movies still had plenty of good fights, but also had a lot more to offer than just that.

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5) The Sword and The Sorcerer (1982)

The evil king Titus Cromwell raises the demon-sorcerer Xusia from the dead, and with his help conquers the kingdom of Ehdan. The royal family is killed by Cromwell, only their youngest son Talon survives. Many years later, Talon has become a mighty warrior, and joins the rebellion against Cromwell to free Ehdan and to avenge his parent’s death.

The Sword and The Sorcerer was Pyun’s debut movie, and it already carried a few of his later trademarks like atmospheric set pieces, but also a muddled plot and subpar acting. The movie was released in 1982 in the same year as Conan The Barbarian, at a time when the Sword and Sorcery genre was really popular. Compared to some of its peers from that era, The Sword and the Sorcerer has not really aged well, and there’s just nothing original about it. Yet it is still a reasonably entertaining movie, there’s plenty of sword fights, monsters, and also some gore and nudity. It’s overall a colorful affair, there’s always something happening, and it never gets boring. Talon’s triple sword with shooting blades fits right in, as a weird but somehow cool gimmick. 

The Sword and the Sorcerer is a solid, but uninspired B-fantasy movie, and it was an overall decent debut for Pyun. He went on to direct more original movies afterwards, such as Radioactive Dreams, before focusing on the action genre in the late 1980s.

4) Mean Guns (1997)

Crime syndicate boss Moon invites 100 fellow gangsters into an empty prison. He declares that they have six hours to kill each other until only three of them remain. The winners will share a prize of 10 Million Dollars. 

The premise for Mean Guns is very simple, and the movie follows through on it without any distractions. Mean Guns is a stylish affair for a low-budget action movie, filmed with a high contrast and lots of filters, it looks fairly slick. Everyone is a hard-boiled character wearing sunglasses and a black coat, which together with the sterile cinematography makes for an interesting attempt to convey an uber-cool flair. And then there is the unusual choice of mambo music as a soundtrack for the movie, which really adds a fitting upbeat vibe to a movie that does not take itself too seriously. 

As this is a movie about going from 100 gangsters to three within 90 minutes there’s almost non-stop action once the game starts. And what Pyun puts on display looks pretty good, there’s plenty of gunfire and hand-to-hand combat, and the amount of firearms shown in the movie should please gun fetishists. Even though there’s an excessive amounts of kills, there is rarely any blood. Apparently the reason for this is that the movie was shot in a real prison shortly before it’s opening, and the crew needed to keep the walls and floors clean. Of course Pyun can be accused of just creating a cheap hybrid of a John Woo movie and Pulp Fiction here, but it all has a lot more momentum than your standard B-action movie. Mean Guns is a very good example for how Pyun was able to work with a low budget and create a quirky movie with a unique style.

3) Cyborg (1989)

Human civilization lies in ruins after a lethal plague has decimated the world’s population. The CDC sends the cyborg Pearl to download important information from a computer in New York that could help to find a cure. She enlists the services of the mercenary Gibson to protect her. On their way, Pearl and Gibson are attacked by a gang of pirates led by the sadistic Fender. Pearl gets captured, and Gibson picks up Fender’s trail, against whom he also has a very personal vendetta.

Cyborg may be Pyun’s best-known movie, mostly due to Jean-Claude Van Damme’s participation as the lead actor, and because it can be considered an archetypical production of the Cannon studios. As usual, Pyun had to work on a budget, but with Cyborg he made one of the best-looking movies in his career. The very first scene of the movie throws us into a nightmarish vision of a post-apocalyptic society, and the visuals he crafted for Cyborg in this scene and a few others are truly engrossing. The outfits of the characters, especially the pirates, are also in a league of their own, goofy and cool at the same time. The fashion choices for characters in many of Pyun’s movies were quite original, and it was always interesting to see what he would come up with. 

A lot of creativity went into the movie, but its distribution over the different departments is highly uneven, especially the acting and script are quite abysmal, I’m afraid to say. The fight scenes are okay, but look fairly static due to choppy editing. Van Damme does what he was good at during the 1980s, which is kicking, punching and shooting people. His counterpart Fender (played by Pyun regular Vincent Klyn) also has a strong physical presence, and his character is truly one of a kind.

His intimidating posture, constant grimacing, and communication mostly through grunts or shouting single words make him a truly bizarre villain. The ambitious vision of Pyun who never had enough to work with may never have been more visible than in Cyborg. The movie was still a considerable financial success for Cannon earning 10 million Dollars against a budget of 500k. Some years ago, Pyun released a director’s cut called Slinger which was supposed to improve the coherence of the movie, and while there is some improvement, it’s rather marginal, at least for me. 

Cyborg features stunning setpieces intermixed with horrible acting and a non-existent plot. I believe it’s best to approach Cyborg not as a consistent movie, but as an atmospheric journey through a post-apocalyptic wasteland, with a couple of decent fights thrown in between.

2) Knights (1993)

In a distant future humans roam the desert in nomadic tribes. Nea’s parents were killed by a squad of cyborgs and their leader Job. The cyborgs are hunting humans to use their blood as fuel for their bodies. Many years later, Nea seeks revenge and teams up with the cyborg Gabriel, who has been programmed to exterminate Job’s party.

On the surface, Knights may look like another typical low-grade Pyun movie, but Knights elevates itself above its peers for several reasons. First and foremost it has a striking cinematography. Filmed in the mountains and mesas of Utah, the characters are frequently dwarfed against the monumental backdrop of the desert, and many scenes have an epic vibe to it simply because of the scenery. Knights is a fast-paced affair, every five minutes or so there’s someone getting thrashed. The fight choreography is noticeably above the average of your typical B-action movie. Frequent cuts are avoided, and the actors and stunt people involved in the fight scenes display some impressive skills. Much of the action is nicely over the top, as the superhuman cyborgs are jumping high and throw their enemies far. 

The cast of main characters also has a big contribution why the movie works so well. Kris Kristofferson plays a rugged, but charming character, as he mostly does. Lance Henriksen gives it all as the major villain. Wearing an eccentric outfit, his portrayal of cyborg leader Job involves a lot of yelling, drooling and crazy faces. Equipped with a single giant robot arm, and frequently holding and cuddling with a parrot, he comes across as more of a pirate captain than a cyborg. Kathy Long as the main protagonist radiates a coarse charm and displays her impressive fighting skills frequently.

Knights is sparking with creativity and energy, and is a charming romp that mixes Pyun’s trademark cyborg theme with a wild-west setting and spectacular cinematography. Sadly enough, it’s still awaiting a proper re-release on DVD or Blu-Ray.

1) Nemesis (1992)

Cybernetically enhanced LAPD cop Alex Rain hunts android terrorists. After a run-in with some heavily armed enemies he starts to question his job as a killing machine, and leaves his profession. But his past catches up with him, and he soon becomes entangled in a violent conflict between cyborgs, androids and humans.

With Nemesis, everything seemed to fall in place for Albert Pyun for once. A reasonable budget, plenty of well-staged action, and a plot that moves at a good pace. Of course it’s a rip-off of other cyborg movies like The Terminator, Blade Runner, and Robocop, and the thin story just serves as a justification to put as much violence and explosions on the screen as possible. That’s not a problem, as no time is wasted with endless explanations on character’s motivations and world-building, which keeps the momentum high. Things even get intellectual occasionally, as philosophical one-liners about the soul and the human condition are inserted throughout the movie, typically right before or after someone gets killed. 

As usual with Pyun’s best movies, one of Nemesis’ greatest strengths is it’s visuals. There’s quite a variety of locations, including dark urban alleys, industrial wastelands, desert ghost towns and tropical jungles that are photographed beautifully. The neo-noir fashion adds to the overall originality of the visual presentation, almost everyone is walking around in sunglasses and trench coats long before The Matrix came along. The bullet-hole floor and door as uber-cool means to enter and leave rooms are also used heavily in Nemesis.

Special effects are decent, with some nice mechanical/prosthetic effects that are mostly used when someone loses one of their cyborg parts in combat. And whenever someone shoots something (really anything), there’s a good chance it will explode. Lead actor Olivier Gruner is a martial artist first and foremost, but he plays his part well enough. It’s also noteworthy that Nemesis features a lot of bad-ass female characters, which was not such a common thing for action movies from the early 1990s. 

Nemesis is a wild ride that never bores and churns out thrills at high pace. It has aged surprisingly well, and showed Albert Pyun at the absolute top of his game.

An Ultimate Plea for You to Check Out ‘Broken Path’ (2008)

Seriously, check this movie out now!

Recently on Twitter, my friend Michael Scott (@hibachijustice. Follow him, he’s great.) started a thread to declare his love for the 2008 movie Broken Path. It’s a love so deep and dedicated, he also wrote an article about it, which you can read over at Film Combat Syndicate

It is more than a declaration of love, however. It is also a pledge. A pledge to have this film showcased to a wider audience, so it can finally receive the appreciation it deserves. Well Michael, I will join you in your pledge, because this is truly an action classic that needs to be discovered for being exactly that.

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UAMC Reviews Broken Path (2008)

Directed by legendary fight choreographer Koichi Sakamoto, and starring the great Johnny Yong Bosch of Power Rangers fame, Broken Path is a non-stop action spectacle, filled to the brim with absolutely electrifying fight scenes.  And I mean that last statement literally. This movie is almost all fight sequences. At only a brisk 90 minutes, it features about 10 mins of set up, and the rest is Bosch violently kicking and punching people repeatedly.

But don’t let that sway you into thinking “Oh, it must be bad. All action and no story.” The movie is all action, and the story is quite simple, but it is effective. Jack, played by Bosch, is a man with a past who just wants to leave it all behind and start over with his wife Lisa and daughter Maddy. But his former life continually haunts him, to the point where he can’t stay in one place. Constantly on the run.

And then one early morning, after starting to settle into their new home, the past does come back… with a vengeance. It is here where the fighting begins, and it barely takes a breath from here on out. It is not so much that the film has a lot of fight scenes as it is that the movie is basically one long fight scene. There are only 5 assailants, and Jack fights them throughout the entire movie, so think of it as a feature length fight with multiple rounds.

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Koichi Sakamoto and the Alpha Stunts Team

This is where director Sakamoto and his Alpha Stunts team shine brightest, as the choreography put together here is some of the best fight choreography you’ve ever, or in this case, never seen. Responsible for the masterful fight choreography in such classic films as Guyver 2: Dark Hero and the action masterpiece that is Drive, Sakamoto is in peak form here. The choreography is second to none, and is a blistering reminder on why he is the legend that he is.

But, none of the choreography would be successful without the talents of Bosch and the cast performing them. A huge favorite of mine since he played Adam, the second Black Ranger on Mighty Morphin Power Rangers, Bosch is an extraordinary talent, performing every move with surgical precision. The rest of the cast: Dan Southworth, Motoko Nagino, Sonny Sison, Panuvat Anthony Nanakornpanom, and Tadahira Nakamura, back him up marvelously, creating such a magnificently performed dance of violence. Exceptional work.

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But, How Ultimate is it?

Are there any issues? The wife is absolutely useless. And there’s a plot twist toward the end that may have you like “But why?” But it’s nothing major. We came to see amazing ass-kicking, and that’s exactly what we get.

The whole film is on YouTube for you to view, but if any distribution labels out there, like Vinegar Syndrome or Shout Factory, hell even Mill Creek, would like to get in on this and give this movie the proper release it deserves, Michael, myself, and countless action fans around the world would be entirely grateful.

Pretty please?

Listen to the Action: How Music Drives ‘Mission: Impossible – Fallout’

A look behind the action and into the music at the heart of ‘Fallout‘ (2018)…

When I walked out of the theaters after seeing Mission: Impossible – Fallout I was blown away by the music. Of course, the stunts, acting, and story were worth the price of admission, but the music took the movie to a height far above Tom Cruise preparing to make a HALO jump. 

The composer of the film Lorne Balfe could have gone one of two ways with the score. The simple route would have been to overly rely on Lalo Schifrin’s theme we all know and love and let that do all the heavy lifting. Instead, Balf decided to let the images on screen inform his composition by emphasizing the action, character, and invoking the legacy of the series to create tension.

The Mission Impossible Theme in Fallout

Let’s first consider the use of the main Mission Impossible theme in Fallout. In Paris Ethan Hunt (Tom Cruise) is preparing to capture his arch nemesis Solomon Lane (Sean Harris) to make a trade for plutonium. As the plan is about to unfold and Hunt and Walker (Henry Cavill) are checking their motives and fortitude, we hear the familiar Mission Impossible theme, but this time Balf introduces it in a slower tempo with rests in between the phrasing. As the brass provides the ominous undertone of the movie, the violins bring a slower tension to the familiar theme. Balf is creating in our minds a sense of unease for Hunt. We are in familiar territory but he’s older now and he isn’t so agile and resilient as he used to be. This time he may not be able to complete this impossible mission, and just as the score is stretching itself to something longer than we are used to, so Hunt is being stretched thin. Tension in the familiarity.

“The end you’ve always feared is coming,” Lane tells Hunt once he’s captured. “And the blood will be on your hands. The fallout of all your good intentions.” A new theme is introduced in this movie: “Your Mission”; the fallout of Hunt’s good intentions, his unwillingness to let a single innocent person die. The theme is reprised often in the film to illustrate the dread and hope that Hunt is perpetually balancing. Each new phrase in the melody provides a dash of hope but ultimately resolves itself into uncertainty––how will he deal with this fallout? The score is guiding us in character motivation and story motivation.

Tom Cruise Completes his Mission in Mission Impossible 6 – Fallout

The HALO Jump Sequence

But how does this all emphasize the actual action of the movie? Let’s consider the HALO jump sequence toward the beginning of the film. As Hunt and Walker prepare to jump out of the airplane the violins provide a tempo as the brass emphasizes chords, providing a small amount of tension. When the plane’s cargo bay opens and we see the stormy skies just below, a choir fills our ears and captures the awe of the storm. 

Walker then pushes Hunt aside, dislocating his oxygen source from his helmet while the brass jumps back into the score and the violins pick up their intensity. As Hunt reconnects his oxygen mask and jumps out of the plane into the stormy skies, the brass fills in the melody and we are now in the thick of the action. As the music is building, a lightning strike cuts through it and all we’re left to do is watch Hunt and Walker plummet in silence. 

Hunt attempts to save Walker by flying back and forth in the sky as the brass makes its way back, emphasizing him missing the unconscious body in the sky. When Hunt finally attaches to Walker the score reaches a fever pitch as he is running out of time to attach the oxygen and deploy his chute. The chords are dissonant and quick, making an impressive scene so much more impressive. Your mind starts to wonder if it’s possible that Hunt might die!

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Your Mission… if you Choose to Accept it

Later in the movie Hunt is running after Warker through the streets and rooftops of Paris. The scene has the potential to be laughable if there wasn’t any music accompanying his chase. However, because of the score this scene is arguably as iconic as any other sequence in the series. 

The scene kicks off with bongos providing an intense introduction to Hunt running across Paris in pursuit of Walker. When we glimpse Walker, we are introduced to chaotic piano emphasizing his calm walk toward his destination. As Ethan jumps from building to building the score hangs on a chord and lets a choir lead the way. It also provides a bit of a Doppler effect because we can feel the wind in the lungs of the choir rushing past our ears. The theme of “Your Mission” is reprised as once again we see Hunt being stretched too thin, perhaps even unable to reach his goal. Traces of the original Mission Impossible theme are placed throughout, mixing with the “Your Mission” theme as the movie is placing the culmination of all of his good intentions into this sequence. If you’re like me, you’re no longer on the edge of your seat. You’ve just fallen out of your chair.

People may talk about Tom Cruise learning to fly a helicopter. They may talk about Tom Cruise doing 106 HALO jumps to get the takes they needed. They may even talk about Tom Cruise breaking his ankle for this film. But next time someone brings up Mission Impossible: Fallout, bring Lorne Balfe into the conversation. Because without him, the mission might have seemed possible, and we don’t want that, do we?

Article by Micah McCaw.

Author bio: “I’m a musician and podcaster from Oregon who cannot get enough of Tom Cruise. You can catch me every Friday analyzing film franchises with my wife on our podcast “The McCaw Podcast Universe”. We exist to prove people wrong when they say, “sequels are never better than the originals”. You can also listen to my indie rock album “Imbalances” wherever you get your music.”