All of the Robocop Movies Ranked From Best to Worst

By
Emily Stephan
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An ultimate ranking list of the best of the sci-fi action Robocop movies!

This ultimate ranking of the Robocop movies will be an odd ranking list, I’ll admit: I’m going from best to worst.

Why?

Let’s be real: we all know the original is going to be number one on this list. While I have encountered some fans who prefer Robocop 2 (usually for nostalgia reasons, though not always), most Robocop aficionados I know treasure the original as one of the great 1980s sci-fi action classics alongside Aliens and Predator. All pretty predictable. Lists are fun when the end is a surprise.

The real question is this: does Robocop 3 or Robocop ’14 get the title of worst in the franchise? It’s a harder question than one might initially think, a battle between two major disappointments, with each film disappointing fans in different ways. So, let’s save that for the end, shall we?

Anyway, onto the list!

1) Robocop (1987)

The original, the iconic classic, the best movie in the franchise bar none. Despite the Cold War era politics and big hair, Robocop’s satire is still timely. The black comedy, ultraviolence, and action scenes retain their punch after thirty-plus years. Peter Weller is both badass and emotionally vulnerable as the titular hero, giving an iconic performance, and cinema got two of its best bad guys in the forms of the gleefully psychopathic Clarence Boddicker and the delightfully oily Dick Jones. All around, a practically perfect piece of cinema and an ultimate action masterpiece.

Read our original UAMC review on THE UNIVERSAL APPEAL OF THE SCI-FI ACTION CLASSIC ROBOCOP (1987) here!

2) Robocop 2 (1990)

Once again, no surprise. While Robocop 2 is not the classic its predecessor is and features a great deal of flaws, it still has enough fun moments and creative ideas to make it a worthy watch, even if only once. The final fight between Robocop and Robocop 2 has to be one of the best moments in the whole franchise, a tour de force of stop motion animation. Now, time for the final battle. Hold onto your hats!

Check out our full write-up on EXPLORING THE COMPLICATED LEGACY OF ROBOCOP 2 (1990) here!

3) Robocop (2014)

Robocop ’14 is the definition of needless remake. It cannot decide whether it wants to be a reimagining of the original with the same dark comedy and satire, or if it wants to form more of its own identity as a somber sci-fi thriller about AI and free will.

This confused tone combined with its bloodless performances and lack of much in the way of narrative drive make the remake a forgettable affair. It’s not a total waste—Michael Keaton and Gary Oldman are pretty good (they aren’t wasted the way Rip Torn and Mako are in Robocop 3), and there is one memorable action scene lit only by gunfire—but the movie is ultimately disposable, like 95% of reboots and remakes these days.

There are certainly better ways you can spend two hours (see number one and two on this list), but I can think of one that is much, much worse. Keep scrolling.

Here’s our complete review on ROBOCOP (2014): THE PG-13 ROBOCOP REMAKE NO ONE WANTED!

4) Robocop 3 (1993)

So, I just said I thought the remake was boring. Why in heaven would I claim Robocop 3 is worse than boring? What could be worse than a movie slowly pushing you into the realms of slumber? Even Steven Spielberg once said his greatest fear as a storyteller was boring the audience.

Well, in my opinion, there is something worse than boring. There’s insulting, which Robocop 3 definitely is to the two films which preceded it. Here, everything is dumbed down, from the violence to the satire to Robocop himself, an overt attempt to get the kids into theater seats since it turned out the series had a young following that discovered the first two films on video (an attempt that didn’t work either, since the film bombed).

Robocop 3 also gives Officer Lewis, the badass, strong-willed cop played by Nancy Allen, an ignoble, almost glossed-over death by gunfire. Despite being Murphy’s confidante and partner-in-arms, he doesn’t seem all that bothered by her being gunned down. In fact, he’s rather chill as she gasps out her final words and pleads to be avenged!

The movie pretends to have a soul, writing in a half-hearted bond between the kid sidekick character and Murphy, laying the sad music on thick when Lewis dies. But it’s all fake and manufactured, so by the numbers that you can’t get genuinely invested. At this point, the filmmakers are just treading water, not doing anything interesting with Robocop himself or his world.

Yes, the remake might bore me, but the third film in the original trilogy annoys me, so void is it of anything worthwhile.

Finally, here’s our in-depth article on ROBOCOP 3: NOT THE WORST SCI-FI ACTION MOVIE EVER here!

Of course, you might feel differently. Some would rather feel something than boredom, even if it’s a negative feeling. It’s an age-old question, one fans will never satisfactorily settle.

What’s your ranking of the Robocop franchise films? Let us know in the comments or on our Facebook page!

Bullitt (1968): the Quintessential Classic Hollywood Action Movie

By
Emily Stephan
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A retrospective into how Bullitt has endeared as a classic 1960s actioner.

Even before their 80s/90s heyday, action and thrills have always been a big part of the movies. During the silent era, comedians like Buster Keaton and Harold Lloyd peppered their movies with daring stunts and wild chases which inspire filmmakers like Jackie Chan and Peter Jackson to this day.

Between the 1920s and 1950s, a great deal of Hollywood’s action-based output came in the form of the swashbuckling adventures of matinee idols like Douglas Fairbanks and Errol Flynn. Sword fights and breathless escapes were action staples in this sort of fare, and remained so for decades.

There were two major stepping stones in the action genre outside of the US: Alexander Nevsky in the 1930s and Seven Samurai in the 1950s. With innovative editing and grittier presentation of violence, these two movies left a major impact on filmmakers worldwide. However, the biggest evolution of the action genre was yet to come.

The 1960s were a major turning point for culture in general, and that includes movies. The big Hollywood studio system that had been in place since the late 1910s was crashing hard. Movie moguls struggled to stay current with the changing tastes of audiences who were losing interest in sword-and-sandal epics and bloated movie musicals.

In this moment of great cultural transition flourished the beginning of modern action cinema. Action movie staples like the Dollars trilogy and the James Bond cinematic franchise took root early in the decade. For many, the quintessential 1960s Hollywood action movie remains Bullitt.

Steve McQueen in Bullitt

Bullitt is the story of Frank Bullitt (Steve McQueen, never more badass), a no-nonsense, resourceful San Francisco cop disillusioned by “bullshit” in high places, particularly from the ambitious and unpleasant DA Chalmers (Robert Vaughn). Bullitt’s assigned to protect a high-profile witness named Johnny Ross from the Chicago mob, only for the guy to be killed in mysterious circumstances. In hot water with Chalmers as a result, Bullitt becomes determined to find out who killed Ross, even if he has to bend the rules to get the job done.

So, what makes Bullitt the granddaddy of the 80s/90s action golden age? Firstly, McQueen’s Bullitt exhibits many of the qualities one associates with the great 80s/90s action heroes. Like Ellen Ripley or John McClane, he isn’t a superhero, but an ordinary guy who relies on his wits and resourcefulness to survive a hostile world.

There’s nothing movie star glamorous about Bullitt. He’s a slob at home and not above guzzling down instant coffee before trudging off to work. His relationship with his chic girlfriend Cathy (Jacqueline Bisset) is strained by the nasty nature of his job.

Exposed to the worst of humanity on a regular basis, Cathy insists he’s “living in a sewer,” and that one day, it’s going to catch up with him. Like later action heroes, Bullitt is someone who has looked death in the face time and again, often using his wry sense of humor and pride in his competence to stay sane.

One of the First Great Actioners

Bullitt (1968)
Directed by Peter Yates
Shown: Steve McQueen (as Lt. Frank Bullitt)

Secondly, the film has a host of fine action set-pieces any later action film would be proud to have. Action in Bullitt mostly comes in the form of on-foot chases and shootouts. One pursuit in a hospital is particularly memorable, with Bullitt navigating dark corridors and tight spaces as he chases a would-be assassin, one moment the predator, the next moment prey. It’s suspenseful and well-paced, shot with realistic understatement though no less exciting.

Without the crutch of modern CG, the movie feels authentic. McQueen insisted on shooting on-location in San Francisco and doing his own stunts whenever possible. Bullitt’s realism gives it that edge-of-your-seat quality, pulling no punches in showing the consequences of navigating a vicious underworld.

The jazzy Lalo Schifrin score does a great job in contributing to the movie’s nervous, violent energy. However, the filmmakers know when to let scenes play without accompaniment. Later films tend to underline action with bombastic music, but in Bullitt the chase scenes often go without scoring of any kind, adding to the tension.

The Most Ultimate Car Chase of All Time!

Then there’s the car chase, the centerpiece of the movie’s reputation. Let me tell you, I watch movies from the silent era on up to the present, and the car chase from Bullitt has still got to be one of the best-edited, best-choreographed chases in the century-plus history of cinema. Every bit as ultimate as its reputation, easy! Without this chase to break new ground, we wouldn’t have gotten fare like The Road Warrior, to say the least.

What makes this chase so special? There’s the (here’s that word again!) realism of it, firstly. It wasn’t uncommon for car chases to be shot in-studio during the studio system days, which took a toll on their effectiveness. The sound effects are also immersive, the screeching tires and roaring engine really putting the audience in the car with Bullitt.

The driving is not presented as flawless either, with those cars taking punishment as they tear up the pavement. Small mistakes such as Bullitt missing a turn were left in too, adding to the scene’s visceral edge.

The pacing is also divine. What starts as two hitmen slowly tailing Bullitt in the San Francisco streets takes an unexpected turn when he starts trailing them. Then they hit the gas, and off the two cars go, racing through the streets, then continuing the pursuit outside the city. The stakes raise gradually, culminating in a deadly finish.

UAMC Bites the Bullitt

Some argue the car chase is all Bullitt has going for it, that otherwise the movie is “dated,” but I can’t agree. It’s true that despite its twisty presentation (the movie begs for a follow-up viewing so you can absorb all the details), the story is pretty standard police procedural fare.

Those who relish the more extroverted style of 80s/90s action films might have to get used to the more understated presentation of Bullitt. However, Bullitt is still a top action-thriller with enough stylish flair and emotional weight to make its mark, even without its historical significance.

What are your favorite scenes and memories from Steve McQueen’s Bullitt? Let us know in the comments or on our Facebook page!

Bad Boy 3 Title and Plot Revealed as Production Begins

By
Jack Beresford
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No Merchandising. Editorial Use Only. No Book Cover Usage. Mandatory Credit: Photo by Moviestore/REX/Shutterstock (1551765a) Bad Boys, Martin Lawrence, Will Smith Film and Television

Will Smith and Martin Lawerence are Loading up for “Bad Boys For Life”

In an update from earlier UAMC reports that the Bad Boys are back, the title and plot details behind the hotly-anticipated Bad Boys 3 have been revealed, as production begin on the long-awaited sequel to the Will Smith and Martin Lawrence buddy cop hit.

Smith posted a video confirming the news on Instragram. In the image, a stack of scripts can be seen which appear to confirm the film’s official title as: Bad Boys For Lif3.

Yes, it’s titled “Bad Boys for Lif3”

https://www.instagram.com/p/BsULxtyBoot/?utm_source=ig_embed

He captioned the picture: “Day 1. I’ll keep y’all posted.”

Smith had previously written the phrase “@BadBoys For Life 🚨” in the caption for a video in which he and Lawrence confirmed the movie was happening, but at that stage it wasn’t clear that was the title.

What to Expect in Bad Boys 3

In addition to the rapper’s Instagram posts, the film’s official synopsis was revealed by Heroic Hollywood:

“The new installment centers on the Miami PD and its elite AMMO team’s attempt to take down Armando Armas (Scipio), head of a drug cartel. Armando is a cold-blooded killer with a vicious, taunting nature. He is committed to the work of the cartel and is dispatched by his mother to kill Mike (Smith). Nuñez will take on the role of Rite, the tough and funny criminal psychologist who is the newly appointed head of AMMO and Mike’s former girlfriend- and the one who got away.”

While that synopsis has yet to be confirmed by anyone involved in the project, it paints a vivid and exciting picture of what could be ahead.

There’s still a long way to go before we see Smith and Lawrence reunited on the big screen though, with the film due to arrive in cinemas at some point late in 2020.

What are your thoughts about “Bad Boys For Life”? Let us know in the comments or on our Facebook page!

First Trailer for Jean-Claude Van Damme’s ‘The Bouncer’ Hits the Internet

By
Jack Beresford
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Jean-Claude Van Damme is Back in ‘The Bouncer’ (2019)!

The first trailer for Jean-Claude Van Damme’s latest film, The Bouncer, has landed online with the Muscles from Brussels on top form in the new sneak peek.

A bruising action encounter, the film represents a gritty return to form for JCVD. We’ve been anxiously awaiting this trailer since news of The Bouncer first popped up on the Ultimate Action Movie Club and since its started to get some pretty impressive early reviews!

Read more Jean-Claude Van Damme’s action news here:

JCVD in The Bouncer

https://www.youtube.com/watch?v=i3JiYbjYFt8

The Bouncer, which is being released under the name Lukas in certain countries, sees the Belgian taking on the titular role as a struggling single parent trying to balance raising an eight-year-old daughter with life as a nightclub doorman.

But when a violent encounter with a drunk patron sees Van Damme’s character up in front of the authorities and at risk of losing custody of his daughter, he’s suddenly forced to go undercover to infiltrate a violent criminal organisation.

Van Damme’s Most Recent Finest

A violent, realistically brutal action effort that, aesthetically at least, draws comparisons with the semi-autobiographical effort JCVD. It’s a distinctly European affair too, with much of the film’s dialogue coming in Van Damme’s native flemish.

The Bouncer is due to arrive on January 11th. It’s already earned rave reviews following a series of film festival screenings and, at just 82 minutes, it’s an easy watch for action fans hoping to keep up with all things JCVD.

What are your thoughts on the trailer for JCVD’s The Bouncer? Let us know in the comments or on our Facebook page!

The Last Dragon: How to Remake a Martial Arts Classic in 6 Ultimate Steps

By
Ultimate Action Movies
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In which we breakdown how the UAMC would remake ‘The Last Dragon’ step-by-step.

Once a coworker of mine discovered that I was writing for the Ultimate Action Movie Club, he began incessantly badgering me about one of his favorite 80’s movies: The Last Dragon. “Dude, you HAVE to watch it,” he would demand. “It’s gotta be the most underrated action movie from that decade!”

I eventually broke down and watched it on a Sunday morning, if for no other reason than to shut him up! However, I must admit, it was actually a pretty good flick! I mean, it’s not the most ultimate action movie I can think of, but it does check off a lot of the right boxes: engaging fight scenes, an endearing protagonist, a satisfying climax, etc. If you haven’t seen the film, it is currently available to stream on Netflix, so give it a watch and let us know what you think in the comments!

Here’s the thought I kept having throughout the movie: could The Last Dragon be successfully remade for modern-day audiences? The 2000’s have been ripe with remakes of 80’s action movie (The Karate Kid, The A-Team, Red Dawn, Robocop, just to name a few), but very few of them were able to live up to the original. In all honesty, The Last Dragon has perhaps the best potential for a sufficient contemporary makeover of any 80’s action movie. 

Here are 6 keys to that success:

1) Go Darker!

The Last Dragon has a very lighthearted tone, often rotating between kitschy jokes that more or less work and slapstick gags that are more silly than lasting.  While this cheery vibe makes for a relatively enjoyable ride, it drastically decreases the stakes. 

A scene with “Bruce” Leroy (Taimak), the film’s hero, goofily eating popcorn with chopsticks in a movie theater doesn’t exactly make the audience feel as though anyone in this movie is in any real danger. Furthermore, Leroy’s “nemesis,” Sho’ Nuff (Julius Carry), the “Shogun of Harlem,” is depicted as a chest-thumping, shutter-shade wearing meathead with a gang of senseless minions for 95% of the film, but the audience is expected to just accept it when he ends up being a legit fighter for the film’s finale. 

In order to make the stakes real, the remake should take a page out of Batman’s book and go darker.  You can keep in some of the humorous sight gags, but add some real gravitas, perhaps by having Sho’ Nuff kill off one of Leroy’s family members.

2) Roll High Quantity of Bad Guys into One Quality Villain

The Last Dragon has two main villains: Sho ‘Nuff, the Shogun of Harlem, and Eddie Arkadian (Christopher Murney), a businessman/mob boss. Sho is a man bent on fighting Leroy for…reasons? He does everything he can to force Leroy to fight him, even vandalizing Leroy’s family pizza store. Eddie wants to get his lady friend (girlfriend?) into the limelight as a singer, but when he can’t strong-arm a music show host into playing her music video, he decides to play dirty. 

Although the two villains ultimately come together to attack Leroy and Laura, it would make for a much better conclusion if you just rolled both of the villains into one. That way, Leroy isn’t splitting his focus on two villains. I’d make Sho the main villain and lend some motivation as to why he hates Leroy.

3) A Modern Soundtrack

Music is an integral theme of 1985’s The Last Dragon. Laura Charles (Vanity), the lead’s love interest, is a singer/DJ. Eddie Arkadian’s entire motivation is to strong-arm Laura into playing his girlfriend’s music on the air. 

At one point, a video of Bruce Lee’s fights is meshed together with a very 80’s instrumental while the two lead characters watch in awe. Music is such a large part of the film that it’s practically a character! For the remake, it is pivotal to keep that deep-rooted importance on music, but instead of the pop and R&B tracks of the original, utilize a fresh, modern influx of hip-hop. 

This will make the film’s Harlem setting feel more authentic, as well as give the younger audiences something to relate to. Throw in an original jam courtesy of Drake or Kendrick Lamar, there’s no telling how much buzz this soundtrack could generate.

4) Tighten Up the Plot

At its core, the 1985 version of The Last Dragon was a story about a boy who realizes that greatness was inside him all along, finding the confidence to both defeat his enemies and get the girl. However, it was so watered down by random scenes and unnecessary subplots that it is easy to get distracted from the main message. For the remake, the plot needs to cut out all the weird, superfluous things going on in the original. 

The subplot about Angela’s dream to become a popstar? Cut it. The weird, unaddressed murder fish? Bye-bye. Completely random full cuts of music videos?! No way! If you can hone in and focus on what this movie is actually about, you will have a much less muddled final product. I mean, how did Sho ’Nuff end up having “the glow” in the final fight scene? These key plot details need to be addressed or explained with some backstory.

5) A Fresh New Cast

I know you’re thinking it, but no, this is not the part where I submit Michael B. Jordan for the lead role of Leroy (unlike seemingly everyone, I don’t think he is the best thing since sliced bread). 

That being said, in order for the remake to work, there does need to be a talented cast of up-and-comers on board. Leroy and Laura absolutely must have chemistry, and the lead villain absolutely must ooze evil. Just spit-balling here, but Trevante Rhodes (Moonlight, 12 Strong) would make a solid Leroy Green, and Zazie Beetz (Deadpool 2, Geostorm) would make a perfect Laura Charles. 

Hell, if you were somehow able to nab someone like Mahershala Ali to play the antagonist, you could probably even get away with keeping his name as Sho ‘Nuff, assuming he uses the nickname ironically. 

6) Don’t Hide from the Demographic

With the massive successes of Black Panther and the new Creed movies, it can be safely assumed that whitewashing is becoming a thing of the past in Hollywood, which is a triumphant feat! In that regard, the original The Last Dragon was truly quite ahead of its time. 

There weren’t too many movies made in 1985 with almost entirely African-American casts, but director Michael Schultz wasn’t afraid to go there. What’s more, the film doesn’t feel like it was made with one particular demographic in mind; people of all races can watch and sympathize with “Bruce” Leroy Green’s journey to become a karate master. 

If the remake can replicate its predecessor’s ability to resonate with audiences of all backgrounds while focusing a story on an African-American in Harlem, it has the potential to be a box-office smash.

Although he wasn’t born until 1991, don’t assume this feisty millennial can’t tell Tom Selleck from Tom Cruise. Nick Hemming has long been an action movie aficionado, comic book enthusiast (ONLY Marvel; DC sucks!), and all-around wunderkind. When he isn’t watching movies, he is probably writing about them.

What do you think of our 6 steps to remaking The Last Dragon? Let us know in the comments or on our Facebook page!

Erik Estrada stars in the Italian Sci-Fi Action B-Movie ‘Light Blast’ (1985)

By
Ultimate Action Movies
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UAMC honors the Italian B-Movie Director Enzo G. Castellari and the ultimate action worthy Light Blast!

Light Blast (1985) is an action, crime, sci-fi B-movie by Italian director, Enzo G. Castellari. It stars Erik Estrada, best known for playing Officer Frank Poncherello in the television series ChiPs (1977–1983).

Good preparation for his role in Light Blast as a San Francisco cop. A city being held to ransom by a mad scientist with a death ray. His demand: five million dollars or he melts another target.

The Great Enzo G. Castellari

Light Blast is one of director Enzo G. Castellari’s later movies. Castellari started churning out Italian B-movies in the 1960’s. He started with the popular genres of the day including Spaghetti Westerns and War Dramas (sometimes called Macaroni Combat).

But where Castellari earned his reputation was with 1970’s crime dramas (sometimes called Poliziotteschi or Eurocrime). These pre-Ultimate-era action crime dramas were very entertaining. Quentin Tarantino agrees. He referenced some of them in his own films. Imagine movies such as The French Connection (1971) but with more action, violence and Italian style.

Fine, but why am I telling you this? Because after a five year gap, Castellari returned to action crime drama with Light Blast. Only this time updating the formula for a 1980’s American audience.

Erik Estrada to the Rescue

Remember the face melting scene from Raiders Of The Lost Ark (1981)? You’ll be seeing much more of that visual effect here. Erik Estrada saves San Francisco from this fate with police procedural plotlines and copious action scenes. Those action scenes include fist fights, gun battles and car chases.

In fact the stunt and explosion laden chases are my favourite scenes in the movie. And as far as I’m aware, no one else has done a Baja buggy chase through city streets. Another thing I enjoyed was the soundtrack which partly imitates The A-Team theme. Also good is the pacing with action scenes well distributed throughout the film’s running time.

Light Blast’s Ultimate Potential

Holding Light Blast back from greatness are a few problems. Chief amongst which is the budget which is too low. By the mid-1980’s, Italian cinema was starting to struggle. Audiences around the world were happy to watch big-budget American action movies on home video instead of supporting their home-grown cinema industry.

Under those circumstances, it’s impressive how well the production team managed to make Light Blast look like a big American action movie. They achieved this feat partly by saving money in creative ways. My favourite being the demolition derby scene. To save money, Light Blast reuses demolition derby stock footage.

That same stock footage previously used during the title sequence of Disney’s Herbie movie The Love Bug (1968), and romantic race-car musical Fireball 500 (1966). Elsewhere in the movie, the cheapness is inescapable. The visual effects when the death ray is fired look particularly cheap and old fashioned.

UAMC Recommended

Overall, Light Blast is good fun. It has all the action you’d hope for from a 1980’s action movie. Just not done in a big-budget Hollywood way. Light Blast is instead a cheesy, low-budget, Italian version of the 80’s American action movie. And in my opinion, a good example of those things done well. Recommended unless you demand big name actors and directors and high production values.

Hywel Price-Evans is currently seeking the Vice President role within OCP’s Security Concepts Division after the position recently become vacant. He is passionate about the future of urban pacification and discovering obscure action movies from the home video era.

What are your thoughts on Light Blast? Let us know in the comments!

Dick Tracy: Warren Beatty’s Colorful Overlooked Comic Noir Actioner

By
Emily Stephan
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UAMC Remembers Warren Beatty and the Underappreciated in its Time Dick Tracy (1990).

Dick Tracy is most-known for its underperformance at the box office, sinking what Disney hoped was going to be the next big franchise. Dick Tracy resembles Disney’s other underperforming comic book action juggernaut, The Rocketeer: both take place in the 1930s, draw inspiration from old-movie serials, and feature lively, over-the-top performances from a notable cast. While The Rocketeer has become a cult classic, Dick Tracy remains overlooked, which is a shame, as it’s an exciting movie, both in terms of action and visuals.

Warren Beatty’s Forgotten Legacy

Clean-cut detective Dick Tracy (Warren Beatty, who also directed and produced the film) wages a one-man war against “Big Boy” Caprice (Al Pacino) and his gang of freak-faced mobsters, though he finds it difficult to gather enough definitive evidence to get the man in cuffs. He tries to get Big Boy’s moll, lounge singer Breathless Mahoney (Madonna), to testify against him, but she expresses more interest in seducing the detective than helping him.

Breathless’s advances and the target on Tracy’s back complicates his relationship with Tess Trueheart (Glenne Headley), his sweet-tempered girlfriend who wants him to settle for an office job. Tracy’s also temporarily adopted a street urchin named Kid (Charlie Korsmo), who helps Tracy with his detective work whether he likes it or not. As much as Tracy cares for his small circle of loved ones, he is unwilling to give up his dangerous work for them—especially once they are drawn into the crossfire.

A mysterious, raspy-voiced figure, known as the Blank, manipulates both Tracy and Big Boy. When Tess is eventually endangered by the three-way battle, Tracy must use all his ingenuity to find his way out of a deadly trap.

Was Dick Tracy Good, Bad or Ultimate?

Critics have bemoaned Dick Tracy’s story—or rather, lack of psychological depth in said story—since its release. It’s true that the characters are flat with simple motivations: Tracy wants justice, Tess wants Tracy to commit, Big Boy wants power, Breathless wants Tracy’s love, etc. Due to its aesthetics, I think a lot of critics expected Dick Tracy to share the darker themes of old-school film noir—but then again, this is based on a three-panel comic series, not a Raymond Chandler novel.

Even if the film apes noir tropes and imagery, it is not a noir proper, concerned with ambiguous morality in a world gone wrong. A more appropriate cinematic precursor would be 1930s gangster and G-man films, complete with tommy guns a-blazing, square-jawed cops, and gangsters handing out cement overcoats. Beatty and his team take the 1930s gangster picture into the context of the 1980s/1990s action-thriller, ramping up the carnage big time.

Everything moves at a clip, for the most part: car explosions, shoot-outs, fistfights, daring escapes, attempted seductions, gruesome (by PG standards) gangland killings. These scenes are framed like comic book panels, dynamic and colorful. Then as now, Dick Tracy’s production design impresses with its commitment to evoking the original strip with its basic colors.

Sometimes the story stalls, so enamored of its visual design that it forgets to keep moving forward. It doesn’t really follow a traditional three-act story where the characters change or where the stakes amp up as the plot goes on. Dick Tracy feels more like several episodes of a television show season strung together than a feature. Beatty claims Disney shaved about 10-20 minutes off the movie before its release, but considering how some sections drag and how character development is not the priority of Dick Tracy, I wonder if this might have been for the best. I don’t know if extra footage would make the story more coherent.

Warren Beatty’s Dick Tracy and Excellent Cast

Regardless of the story’s shortcomings, Beatty is great as Dick Tracy. While critics complained he was too old to play a crime-fighting gumshoe at 52, the energetic Beatty looks like he can keep up with the action going on around him, so this is hardly a case of, say, Indiana Jones and the Kingdom of the Crystal Skull. An action hero need not be all rippling muscles to be credible. Beatty also allows Tracy to come off as principled and tough without being one-note.

Beatty is well-supported by a bevy of all-star actors. Glenn Headley is a breath of fresh air as the one subdued member of the cast, the calm in a hurricane of gleefully hammy performances. Charlie Kosmo is charming as Kid, not nearly as annoying as he could have been.

Al Pacino’s bombastic villain will either annoy or delight, depending upon your temperament—as someone who loves over-the-top villains, I adored his performance, which can only be described as a gangster version of Shakespeare’s Richard III. He practically steals the show from everyone else.

Even Madonna, as bemoaned as her acting abilities are, is good as the femme fatale, cynical, seductive, and cunning, with just enough vulnerability to make her memorable.

Considering how Disney wanted this to be a franchise, it’s strange how they shoved sixteen villains into one movie. Their trademark grotesque faces and deformities are brought to life with make-up effects that have held up extremely well, but one might think they’d want to save a few for later films, not to mention with so many villains on display, few get the chance to make much of an impression beyond Big Boy himself.

UAMC Worthy? You Decide!

I found Dick Tracy a more satisfying experience the second time I watched it. Initially, I had the same complaints as the filmmakers, wanting the film to be more like the Tim Burton Batman with its gothic melodrama and troubled hero—considering how the film also features an art deco aesthetic and a similar-sounding score from Danny Elfman, it’s an understandable comparison. (Apparently, even Batman leading lady Kim Basinger was in the line-up for Breathless.)

But one must look at Dick Tracy on its own merits to fully appreciate it as both an action movie and a technical tour-de-force—and it has more than enough merits to make it worthy of a second glance.

What are your thoughts (and memories) on Warren Beatty’s Dick Tracy? Let us know in the comments or on our Facebook page!

Arnold Schwarzenegger Releases Predator-Inspired ‘Dutch Bourbon Whiskey’

By
Jack Beresford
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‘Get to the choppa!’ with this official Predator bourbon whiskey you can enjoy ‘anytime’

Predator fans will soon be drinking to Major Alan Dutch Schaefer’s good health thanks to a tie-in whiskey paying tribute to Arnold Schwarzenegger’s character in the 80s action classic.

Dutch Bourbon Whiskey is the result of a collaboration between Silver Screen Bottling Company and Fox Studios and already looks like a must-buy for action movie fans.

The bottle’s design is the biggest draw, featuring both the familiar Predator targeting crosshairs as well as Dutch’s helicopter and the iconic line: “Get to the chopper.”

Bonus: Read more PREDATOR articles here!

Arnold Schwarzenegger’s Bourbon

According to the marketing material around the new whiskey, this particular bourbon is aimed at people “on a mission with a bold taste for adventure.”

The bourbon offers a full-bodied flavour with notes of vanilla, coconut, and bergamot and, like Arnie himself, packs a hell of a punch at 40% ABV.

While this officially-licensed Predator whiskey can be enjoyed “anytime”, it could make the perfect accompaniment to a night in watching the original Predator.

A UAMC Approved Refreshment

Alternatively, you can use it to drown your sorrows while watching the lamentable follow-up The Predator – so close to being good and yet so far!

In any case, it’s the ultimate tipple for any muscle-bound guys out there looking to enjoy something with a little kick alongside a hearty-looking handshake.

If it Bleeds, We Can Drink it

More importantly, it’s a great whiskey to enjoy as part of a Predator-based drinking game. Just drink anytime someone utters one of the classic lines like:  “If it bleeds, we can kill it,” “I ain’t got time to bleed,” or “Anytime”.

Just go steady though. There are a lot of great quotes in the movie. Dutch Bourbon Whiskey is now available for pre-sale, retailing for $34.99 each.

Are you interested in this Arnold-approved ‘Dutch Bourbon Whiskey’? Let us know in the comments or on our Facebook page!

5 Reasons ‘Raiders of the Lost Ark’ is Absolutely an Ultimate Action Movie

By
Ultimate Action Movies
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We damn sure love us some Indiana Jones in Raiders of the Lost Ark (1981)!

It should go without say that the Harrison Ford 1981’s timeless classic, Raiders of the Lost Ark, was a monumental landmark in the action movie landscape. The stunts. The fights. The infectious score that will have you humming it for weeks after watching, all the while plotting your next big adventure. 

It is Steven Spielberg’s movie-making magic at its very finest, a genre-transcending adventure that is honestly just as enjoyable now as it was in the 80’s. Perhaps the film’s most remarkable feature was its ahead-of-its-time fight sequences, scenes so infectiously influential that to this day, Walt Disney World houses the Indiana Jones Epic Stunt Spectacular! so that audiences can relive the stunts in person. 

Here are 5 reasons why the fight sequences in Raiders of the Lost Ark are still so respected today:

Indiana Jones’ Vulnerability

Unlike most action heroes of the era, Indiana Jones is not a “total badass” in the typical sense of the word. Sure, he daringly stands up for what is right and sticks to his guns, but it never feels like he has the upper-hand when knuckling up with an opponent. Where Schwarzenegger and Van Damme are intimidating figures, more mountains than men, Harrison Ford’s Dr. Jones looks like an average Joe. 

In the majority of the film’s brawls, Indi is actually getting the crap kicked out of him until something fortuitous happens (i.e. a plane’s propeller makes short work of a particularly beefy Nazi mechanic who had been pounding Indi into a pulp). This vulnerability makes Indiana Jones a more relatable action hero, which really puts the audience into his shoes and makes the fight sequences feel larger than life.

The Humor

While Raiders isn’t a comedy by definition, it does have a brilliant sense of humor. Indi’s brash, nonchalant swagger makes him so cool that it’s honestly hilarious when he stumbles or decides to fight dirty, which he actually does so quite frequently throughout the film. 

For example, during the fight in the Egyptian bazaar, Indi faces off with a skilled swordsman. After the man briefly shows off his prowess, Indi gives an “I don’t have time for this” eye roll, then pulls out his gun and indifferently shoots the man in the head. 

By inserting slight-yet-effective doses of humor into the stunts and fight scenes, the audience is reminded that this is, in fact, a movie, and that you are here to have fun.

The Stunts and Special Effects

Explosions! Car chases in the desert! Daring escapes from snake-infested tombs! This movie has arguably more notorious stunts than most films created in the 2000’s, despite the glaring improvements in technology and special effects. For evidence, you need look no further than Raiders’ opening scene, Indi’s infamous attempt to recover a golden idol from an ancient, booby-trapped temple. Even re-watching it today, you will be blown away by its spectacle.

No Damsel-In-Distress Here!

When we are introduced to Maion, Indi’s spurned ex-lover, she is literally out-drinking a man in a Tibetan bar. What a great way to immediately let the audience know that this character, although a woman, is no helpless maiden. 

Marion is Indi’s equal in almost every way, and at no point does the audience feel as though she needs saving, even when she literally “needs saving.” 

When she gets locked in the Nazi plane, she ends up figuring out how to use the plane’s weapons system and guns down an entire vehicle of soldiers. Given the times, it was a risky decision to make the film’s lead actress so independent, but it is a decision that really paid off in the long run.

The Realistic Stakes

Every fight scene in Raiders has a real feel of importance. However, it’s not the kind of movie where the world is at risk. Indiana Jones is simply trying to stop the Nazi’s from taking possession of the Ark of the Covenant, not necessarily because the Nazi’s will use the Ark or its power (as Indi addresses early on, he is skeptical of any supernatural device), but because the US government hired him to get it. 

Because the stakes aren’t so implausibly grandiose, the audience can actually better understand why Indi is risking so much to recover the Ark. In this case, less is actually more.

Although he wasn’t born until 1991, don’t assume this feisty millennial can’t tell Tom Selleck from Tom Cruise. Nick Hemming has long been an action movie aficionado, comic book enthusiast (ONLY Marvel; DC sucks!), and all-around wunderkind. When he isn’t watching movies, he is probably writing about them.

Do you consider Raiders of the Lost Ark to be an ultimate action movie classic? Let us know in the comments!

UAMC Exclusive Look at ‘The Standoff at Sparrow Creek’ (2019)

By
Ultimate Action Movies
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Take a Peek into dark action thriller ‘The Standoff at Sparrow Creek’ in this EXCLUSIVE PHOTO.

It’s a shame The Standoff at Sparrow Creek wasn’t able to slip into release here at the tail end of 2018 as it most definitely would find itself on numerous Top 10 of the Year lists. Still, Sparrow Creek is a seedy powder keg of an action thriller that will definitely blow some tops here in 2019 (release date is Jan 18th, btw).

The Ultimate Action Movie Club first reviewed Sparrow Creek at Fantastic Fest in Austin, Texas last fall. We praised it for being one of the festival’s best action offerings, but the film is really more than your standard modern action fare. It’s definitely more of thriller. It’s darker. It’s more complex. And it’s about emotions. Which may sound gooey, but they’re badass emotions like trust, betrayal and fear.

Written and directed by Henry Dunham and starring an all-star ensemble of broody performances by Patrick Fischler, Brian Geraghty, Chris Mulkey, Happy Anderson, Robert Aramayo, Gene Jones and helmed by James Badge Dale, this look at Sparrow Creek comes to us from the team at Cinestate whose been hard at work recently keeping the ultimate action movie vibe alive with their features Brawl in Cell Block 99 (which you can read about here) and the upcoming Dragged Across Concrete (which you can read our excited review here).

An Exclusive Look at The Standoff at Sparrow Creek

‘As the member’s trust in one another deteriorates, Gannon (L) deflects the spotlight from Ford (R).’ – Henry Dunham

Well, here it is! As you can see above, in this UAMC EXCLUSIVE IMAGE, dark shadows forebode an ultimate showdown between suspicious militia members drawn together to find a rat. Kind of. You’ll have to see it yourself. But in the scene above, James Badge Dale (Gannon, on the left) is working on his fellow militia member Chris Mulkey (Ford, on the right) in their late night rendezvous at militia HQ.

To keep it short, since diving anywhere into the boiler pot plot might give away some spoilers, the official synopsis from Cinestate of the film simply reads:

“A militia man attempts to find the gunman behind a horrific shooting at a police funeral.”

What follows are some of the most intense 90-odd minutes of high tension character-driven suspense which leaves you white knuckled and suspicious of everyone. And while it’s more on the thriller-side of our classic action bread and butter, it is an old school who-dun-it that’s definitely a modern hybrid action-thriller for Ultimate Action Movie Club fans to check out.

Peep the trailer below:

What are your thoughts on how ‘The Standoff at Sparrow Creek’ looks? Let us know in the comments or on our Facebook page!

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