The decades old debate over whether Die Hard can be classed as a Christmas film may have finally been settled. Everyone knows the story of Die Hard… Bruce Willis plays John McClane, an off-duty cop, forced to come to the rescue of his wife and several others taken hostage by German terrorists during a Christmas party at the Nakatomi Plaza in Los Angeles.
For years, the debate has raged as to whether the fact the events of the film unfold on Christmas Eve qualifies it as a festive classic.
Writer Steven E De Souza has always insisted it is a Christmas movie. Willis, meanwhile, recently came out to insist the exact opposite. Now Twentieth Century Fox, the studio behind the film, have weighed into the debate with what many are calling the definitive answer.
To celebrate the 30th anniversary of the film’s release, they’ve put together a special festive Die Hard trailer in which the movie is described as “the greatest Christmas story ever told”.
It could be the absolute proof of what many have always suspected: Die Hard is the greatest Christmas movie of all time. In the clip, John McClane is described as a man “who just wants to spend Christmas with his family.”
Later in the trailer, a voiceover states: “This Christmas get ready to jingle some bells and deck the halls with bows of…”, shortly before cutting to a clip of McClane calling the wife by her first name “Holly.”
To top things off, the film’s titles appear later on decked out in Christmas light. Coming off like the spiritual step-brother of Home Alone with a machine gun, this is every die-hard Die Hard fan’s fantasy. Definitive proof if ever it were needed, right?
However, if you need more proof (or a good counter argument, you can always check out one of these articles.
Move over Die Hard, Sylvester Stallone’s ‘Rocky IV’ is the true ultimate action Christmas movie!
Die Hard’s status as a Christmas film is a source of much debate among action movie fans. Some see it as a Christmas film, complete with moral message. Others reckon the film’s Christmas Eve setting is simply a happy accident.
Forget fellow festive outsiders like Lethal Weapon for a second; when it comes to picking out the most underrated Christmas movie of all-time, it has to be Rocky IV. And here are 10 reasons why!
The snowy backdrop of Krasnogourbinsk might be a bleak, depressing example of Soviet Russia, but it’s got an unmistakably festive feel, like Charles Dickens’ London in A Christmas Carol. God bless us, everyone.
Also, be sure to check out our UAMC reviews of the original Rocky movies below!
Forever remembered as the Cold War Rocky movie, Rocky IV sees the American Balboa going toe-to-toe with the Soviet state-trained Drago in 15 rounds of crazy and, entirely unrealistic, boxing mayhem.
Rocky comes out the victor, triumphing in Drago’s backyard and sending a message to the Soviet people that they too can rise up and fight back against the oppressive Russian regime. In doing so, he’s giving them the greatest Christmas gift of all: freedom. Is it any coincidence that the Soviet Union began to fall apart in the years after Rocky IVwas released? Yes, yes, it is.
Think back on Christmases past and chances are you’ll remember a particular gift that hasn’t necessarily aged all that well. For you and I that might be something like a Sony MiniDisc player or Sega Dreamcast, for the Balboa family it’s undoubtedly Sico, the rubbish robot butler they bought for Paulie.
It’s a limited, lumbering bit of technology, ill-equipped for the challenges of its role. Paulie doesn’t even want Sico declaring “I wanted a sports car, not no walking trash can!” Crap presents and ungrateful recipients? It’s like every Christmas you’ve ever had in your life.
7) The Fights
If there’s one thing any family knows about Christmas is that fights will be had. You’ll fight about presents, board games and what to watch on TV. The fights presented in Rocky IVare symbolic of the battles we all face at Christmas, often with loved ones offering contrasting ideas.
No punches are thrown in family fights, of course, but by watching these grown men beat the living hell out of each other most families probably realise their own petty arguments are nothing by comparison and should be set aside.
Rocky’s lumbering brother-in-law and friend isn’t the brightest bulb in the box and not always that helpful to have around. But he’s family and family mean something. Especially at Christmas.
“I know sometimes I act stupid and I say stupid things, but you kept me around and other people would have said “drop that bum”. You give me respect,” he tells Rocky. He’s basically Rocky’s very Tiny Tim. Albeit Tiny Tim with a drinking problem.
5) Finding Out Who’s Naughty and Nice
If Stallone’s Balboa serves as the film’s stand-in Santa Claus, then Drago is undoubtedly the naughty boy of the movie, who needs to be punished for his misdemeanors.
Misdemeanors like taking performance enhancing drugs and killing Apollo Creed. He doesn’t even care either, declaring: “If he dies, he dies.” This guy is getting a lump of coal in his stocking for sure.
4) That Training Montage
Rocky’s intense training montage takes place inside the confines of the kind of snowy log-cabin. It’s supposed to be in Russia, but it could easily be Lapland, with Rocky and his pals renting the cottage from its usual owner, Santa Claus, who is letting the place out while he’s away on business.
Okay it’s a stretch, but on a purely symbolic level the effort Rocky goes to, to prepare for his big day on December 25 is akin to the effort that goes into preparing for most Christmases.
One of the most festive moments of the film comes when Rocky’s wife, Adrian, reunites with her husband to give him one final surge of encouragement ahead of his big fight with Drago.
Then, when the fight is over, a visibly shaken and potentially brain-damaged Rocky still finds the strength to wish his son a merry Christmas on top of solving that whole pesky Cold War thing!
2) The Feel-Good Finish
Like any good Christmas movie, Rocky IVhas a suitably feel good finish, with good triumphing over evil. But Rocky doesn’t just defeat Drago and send him packing, he takes the opportunity, in his post-fight interview, to spread a message of peace.
He wants to bring the two warring nations together, despite suffering from severe concussion. “If I can change, and you can change, then everybody can change!” So true.
You know that full-to-the-brim feeling you have inside your gut after a hefty Christmas dinner? That’s probably how Rocky felt, in part, after that fight with Drago.
Tired, full, but also feeling the Christmas spirit in his bones. All that, and he just brought an end to the Cold War. Your move, John McClane.
What are your thoughts on this ultimate action Christmas movie take? Let us know in the comments!
Gary Busey is the ultimate wild man of action movies. Here are 5 times the Busey absolutely lost it!
Gary Busey is an ultimate action movie treasure. Even in his early days, we’ve loved his cock-toothed grin and mad dog haircuts. His movie star voice howls out of the screen like a mix between Buddy Holly and a wild animal caught in a bear trap.
Today, we here at the Ultimate Action Movie Club are going to celebrate all the times in which Gary Busey has made our lives just a little bit better with his insane performances. From dressing up in drag and singing his heart out to breaking our hearts with his story of poor Prince Henry Stout, we love us some Gary Busey insanity.
Here are the five times in which Gary Busey absolutely lost his s*** in some of our favorite ultimate action movie moments!
Drag Dance Scene | Under Siege (1992)
If, for whatever reason you’ve been living an ultimate action movie sized rock and have no idea who Sir Gary Busey is, this might be the best way to meet the man, the myth, the legend! Steven Seagal’s Under Siege is an ultimate action movie classic for many reasons, but perhaps the greatest one is a truly odd, bizarre, over-the-top and awesome performance by the great Gary Busey.
Yes, he’s a ranking officer on a boat full of sailors. And yes they might be modestly excited (by U.S. Navy standards, certainly) for some music and live entertainment, Busey’s Commander Krill still thinks its a good and appropriate idea to dress up like a woman and parade himself around like a mad man.
Tommy Lee Jones seems to dig it, but he’s also about to kill everyone, so maybe he’s just using Busey’s dancing as motivation.
To be honest, could do a whole article on this scene alone. Not to mention on the great Gary Busey and Keanu Reeves buddy comedy Point Break – (AND YEAH! I know Patrick Swayze is in it too, but this movie is about Busey and Reeves!)
So, let’s dive into this step-by-step. First, it’s 10:30 in the morning, the guys are on a stake-out and Busey is having the time of his life. Not only is he audibly guffawing away at a Calvin and Hobbes comic in the paper, he’s absolutely mad for some meatball sandwiches. Like there’s nothing else in the man’s head until the most remote of stimuli enters it. And the meatball sandwiches, he doesn’t order one for himself and ask what his blue-flame rookie wants? NO! He orders two for himself, sends the rook on the way then dives back into his Sunday funnies. Pure. Busey. Awesome. Insanity!
Sir Henry Stout Speech | Surviving the Game (1994)
While these other examples of the Busey monster being everyone’s fun-loving insane uncle, this scene from Surviving the Game is anything but. In his famous “Prince Henry Stout” monologue, Busey shows the sheer range of his insanity by describing, in detail, how his father forced him to kill his favorite dog.
While this fits well with the “man is the most dangerous game” motif of the film, there’s just something about this scene that is utterly insane.
Could it be that Busey isn’t acting at all? It really feels like he’s just telling a story from his youth. It would explain a lot.
In a role that made Gary Busey a UAMC legend, Busey’s Mr. Joshua is a great example of how Busey can steal any scene he’s in. Specifically the “Do you smoke” scene where Busey – in a rare calm and collected performance – showcases just how unnerving the man can be.
Note the curled lip and deadly stare. That’s the face of a mad man who feels no pain. Fun fact: no special effects or prosthetics were used in this scene as Busey insisted on doing the stunt the same way he often does at his favorite beachside bar before ordering Jager shots for the rest of marina.
A F****** Alien Scene | Predator 2 (1990)
More proof that Busey, when he wants to, can clean up quite nicely. All told, his performance in Predator 2 is really quite admirable (and despite being overshadowed by the original Predator, is very much UAMC-worthy in of itself). However, even in his put-together performances, Busey still simmers with hot, steaming madness underneath.
With his “a f******* alien” delivery, you can see the clouds divide as you get a glimpse into the pure craziness which would go on to spawn I’m With Busey and a whole career worth of defying what people can understand as normal and rational thought and behavior.
We at the UAMC truly do salute and honor the great Gary Busey for his insane mad-cap action movie performances as one of the great insane actors of our generations!
What’s your favorite Gary Busey action movie moments? Let us know in the comments or on our Facebook page!
I would go to neither extreme. Robocop 2 has exhilarating action and the magnificent Peter Weller, though it does lack other key elements which made the first a masterpiece.
Future Detroit is worse than ever: not only has the city gone bankrupt, forcing it ever more beneath the thumb of Omni Consumer Products, but crime permeates every level of society. Hot new designer drug Nuke is handed out like candy both on the street and within the police department, and little league teams commit armed robbery in broad daylight.
Naturally, Alex Murphy/Robocop (Peter Weller) has his hands full. His current mission is to hunt down Nuke dealer and cult leader Cain (Tom Noonan), as well as take down Hob (Gabriel Damon), Cain’s destructive tween henchman who uses Robocop’s inability to kill minors to his advantage. However, Murphy is still adjusting to life as a cyborg, especially since many of his OCP superiors still view him as nothing more than a product.
Meanwhile, OCP also wants to create a Robocop 2 since Murphy has been a big success, but nothing works out. However, when Cain proves himself a decent candidate for the program, things go awry, complicating Murphy’s life all the more.
I don’t agree with every criticism leveled against Robocop 2. For instance, some claim Cain is a lackluster villain. True, he isn’t as fun as Clarence Bodicker or Dick Jones (one of UAMC’s greatest action movie villains of all time), but his Charles Manson vibe makes him a creepy adversary. When he becomes Robocop 2, he also gives Murphy one of the best battles in the trilogy, so he has that going for him too.
The character Hob usually comes under fire as well. People either find this swearing, violent kid hilarious or in horrible taste. Critic Roger Ebert was particularly disturbed, even going as far as to suggest sinister intentions on the part of the filmmakers. Ebert claimed Hob was meant to appeal to kids watching the movie despite its R-rating (after all, there was a Robocop cartoon on television) and therefore the irresponsible filmmakers were giving them a bad role model. Publications like the Christian Science Monitor echoed his perspective, calling the film “insidious.”
With all due respect, I find this reaction unwarranted and not just because wanting filmmakers to change their R-rated product on account of kids breaking rules to see it is unreasonable. From the amount of kid characters in the movie, particularly kids of criminals (think of the junkie feeding her baby in the opening scenes), one can surmise the filmmakers were likely trying to show how innocence is inevitably corrupted by such a twisted society.
Hob’s swearing like a Tarantino character might be comedic, but the film occasionally suggests he might have had no choice in how he turned out. The infamous moment where a wayward cop is vivisected by Cain’s thugs is telling: Cain forces this suddenly not-so-tough boy to watch the carnage despite his horror. The scene isn’t played for laughs—it’s gross, scary, and heartbreaking, with more than a few shades of Murphy’s murder in the original.
However, Hob’s sudden take-over of Cain’s operations is rather incredulous, even for something as overblown as Robocop, and his development after the vivisection scene is spotty. He seems to become even more of a homicidal monster, only to be played for pathos in the end—a pathos that, because it isn’t properly built up to, doesn’t pay off like it should. For this reviewer, that is a bigger issue than Hob being a violent child in and of itself. I imagine his development might be another casualty of the movie’s famously troubled production history.
Unfortunately, the film is not as thorough with exploring its themes, coming off like a confused mess of plot threads. The film teases the audience by making us believe Murphy’s wife will try to reconnect with him, which would have been a great route to explore, showing how Murphy still has limitations due to his cybernetic existence (romantic/physical desire). But this thread is dropped as soon as it is introduced, never to be alluded to again.
Robocop 2 also swipes at PC culture when Robocop is given hundreds of useless directives to make him a better “role model” for children (one wonders if the filmmakers anticipated complaints in advance). He becomes useless as a crime fighter, instead lecturing delinquents on nutrition. But like the wife subplot, this development doesn’t last long, as Robocop fixes the problem within minutes. So much for conflict and suspense…
As a result, the story is choppy, like a series of half-baked television episodes strung together to make a feature. The pacing drags hard because there is no sense of simmering conflict with all of these mishandled characters and subplots. If better fleshed-out, Robocop 2 could have been a worthy successor to the original. As it is, it’s just a thematic sampler platter, unwilling to commit to anything in detail.
At the very least, the action is still well-done. Though accused of mean-spiritedness, the ultra-violence is outrageous in the manner of the first, if not always as imaginatively staged. The car chase between Murphy and Cain is a lot of fun. And the final fight between Robocop and Robocop 2 is a tour-de-force of stop-motion, and a worthy successor to the Murphy-Bodicker showdown in the first movie.
Robocop 2’s box office did not match the high numbers of the original; however, more than a few Robocop fans have fond memories of it and I can see why. Flawed as it may be, there are still many things to appreciate and fans will want to see it at least once, if only for the awesome action and Weller.
If only the same could be said of Robocop 3…
What are your thoughts on Robocop 2 and how it stacks up to the original? Let us know in the comments or on our Facebook page!
Why Die Hard is not only a Christmas movie, but the MOST ULTIMATE Christmas movie of all time!
It’s that time of year again. We’ve all seen enough turkey to last us until next year, spent too much money on Black Friday and Cyber Monday deals, and wondered where the year has gone. With another year almost in the books, there’s only one more holiday to celebrate before the new year arrives. With Christmas upon us, a seemingly new tradition has emerged in recent years.
Anyone not living under rock the past 30 years is familiar with the action-packed Die Hard franchise and its driving force, Det. John McClane; a New York City cop who has the worst luck being in the wrong place at the right time. Time and time again he stumbles upon (or is forced into) situations in which he must outwit and outgun his well-armed adversaries, often in the most explosive ways possible. Die Hard is the franchise that transformed Bruce Willis into an instant action star and cemented his place among the Big 3 of Hollywood action heavyweights; thanks, in large part, to its first entry.
But I’m not here to revel in the things we all know and agree on. I’m here to discuss something much more divisive. While it probably isn’t the most important topic of discussion, it certainly is the most fun debate I partake in this time of year: “Is Die Hard a Christmas movie?” The short answer is yes. Here are 5 reasons why Die Hard is not only a Christmas movie but the Ultimate Christmas movie.
This is the number one argument I hear against Die Hard being a Christmas movie: “Just because it happens at Christmas time, doesn’t mean it’s ABOUT Christmas.” Actually, that’s exactly what it means. While the plot isn’t directly about celebrating Christmas, no one can deny the presence of the holiday. Anyone who says Die Hard isn’t a Christmas movie because it isn’t about the holiday must say the same about the Halloween franchise because it’s technically about Michael Myers, not the holiday. Yeah, good luck with that.
I would venture to say that most people’s ideal Christmas revolves around family (regardless of how dysfunctional). Love ‘em or hate ‘em, they are still family. Die Hard is no different. At its core, the film is about reconciliation. The entire premise revolves around John coming to Los Angeles in hopes of patching things up with his wife, Holly, and spending Christmas together with their kids as a family. We can all relate to that.
Since when have Christmas movies been declared Hallmark Channel exclusives? Having a plethora of guns, explosions, and coarse language doesn’t make it any less about Christmas. It’s just a Christmas movie of the male persuasion.
PSA: This, in no way, means that people who “identify” as women can’t like Christmas movies with guns, explosions, and coarse language. I’m just saying that the Hallmark Channel doesn’t air them, unfortunately. Maybe the Hallmark Channel should be more gender neutral…
P.S. If that subtle jab offended you, maybe you should identify as a man and stop watching the Hallmark Channel.
P.S.S. I’m just kidding, Hallmark. I don’t hate you. It’s Lifetime I hate.
Why do we enjoy watching Christmas movies? The answer is because they make us feel good. Often, they start at a place of pure bliss and stay there throughout. Other times the journey is more… eventful. But the destination is always the same. Who (except Ellis; RIP) doesn’t want to see John and Holly end up back together at the end of Die Hard? Don’t forget about Sgt. Powell’s overlooked roller coaster of a career from normal street cop to accidental kid killer to troubled desk jockey to Johnny got his gun back. Maybe this should be on the Hallmark Channel…
From the sleigh bells ringing in the opening sequence, to the Christmas party, to the soundtrack, to the dialogue, the film is littered with Christmas themes and references. There is a total of 51 Christmas references in the film; 16 in the first FIVE MINUTES! (yes, I counted). Here, is the full list. If this number alone doesn’t settle this debate, then you are simply being a Scrooge.
This badass article was written by Derek Kennamer – a cinematic fanatic and the coolest rockstar in his own fantasy world whose favorite superpower is quoting movies in everyday life.
Let us know what you think in the comments or on our Facebook page!
And while Arnie may have ultimately parlayed his box office power into a career in the world of politics. His action movie output ranks among the best in the business.
Here is our official ranking of the MOST ULTIMATE ACTION MOVIES ever starring ArnoldSchwarzenegger. Because no one does action quite like Arnie.
And if you’re looking for more Top 10 Lists to read up on (or argue about with your friends later), here are some more official Ultimate Action Movie Club rankings to check out:
This rough and ready Arnie effort sees Arnold Schwarzenegger take on the role of Kaminski, a once-disgraced FBI agent recruited for an assignment with a difference. Kaminski’s violent tactics got him in trouble the first time round but when an agent’s son is killed by ruthless Chicago mobsters, the FBI can think of no one better to dish out some rough justice.
Going undercover, he soon infiltrates a mob gang with a nasty side line in dispatching government witnesses. Fortunately, this one-man wrecking ball ensures that comes to a swift and entertaining end. An underrated effort in the Schwarzenegger canon, Raw Deal is Arnie at his back-to-basics ass-kicking best.
A criminally underrated addition to the buddy cop sub-genre, Arnold Schwarzenegger puts in a stellar turn as the Russian policeman Ivan Danko who is forced to partner up with Jim Belushi’s cocky American cop Art Ridzik in order to solve the murder of his Soviet partner.
Written and directed by Walter Hill, the man behind 48 Hrs., Schwarzenegger’s Danko must navigate the unfamiliar surroundings of Chicago to apprehend the Georgian drug lord who killed his friend in Russia before escaping to the States.
Playing the straight man to Belushi’s wise-cracking Ridzik, the film’s likeable leads, coupled with a fun if formulaic plot that plays on the Cold War tensions of the time make this a gem worth seeking out.
Arnold Schwarzenegger re-teamed James Cameron for this enjoyable action-led spy romp, playing the role of Harry Tasker, a workaholic computer salesman living a double life as a James Bond-esque secret agent.
Things begin to unravel, however, when Arnie’s Tasker begins to suspect his wife Helen (Jamie Lee Curtis) is having an affair with a man also claiming to be a government spy. Throw in a plot involving terrorists accumulating nuclear weapons and you have all the ingredients for an absurdly enjoyable action effort full of great stunts, pithy zingers and a fine supporting turn from Tom Arnold.
It may not have had much in common with the Stephen King book it was based on but The Running Man was arguably the action movie that saw Arnold Schwarzenegger hit his stride.
An inspired concept that would be borrowed/stolen for the Hunger Games movies, Arnie took on the role of Ben Richards, a man convicted of a crime he didn’t commit and forced to run the gauntlet of a game show where survival is the only way to “win”.
Forced to take on a series of suitably daft futuristic gladiators armed to the teeth with a variety of advanced weaponry, Schwarzenegger is in his element, dropping his signature one-liners left, right and centre. Throw in a pumping 80s soundtrack, bucketloads of lycra and Jessie ‘The Body’ Ventura and you have something truly special.
A swords and sorcery classic from John Milius, the writing genius behind Dirty Harry and Apocalypse Now,Arnold Schwarzenegger lets his actions do the talking as the monosyllabic Conan, a barbarian on a quest for vengeance against James Earl Jones’ terrifying evil sorcerer Thulsa Doom.
A gritty, back-to-basics affair that plays out like every Dungeons and Dragons fan’s wildest fantasy, Arnie is entirely believable as a muscle-bound barbarian of few words. The film that spawned a sequel, spin-off and a remake, this striking, stripped-back effort is far and away the best of the bunch.
This inspired sci-fi actioner combined three winning filmic elements of the 1980s: the dystopian storytelling of Philip K Dick, the visceral and inventive direction of Paul Verhoevn and the simple brilliance of Arnold Schwarzenegger as an all-action everyman lead.
Gory, violent and funny in equal measure, Schwarzenegger plays Douglas Quaid/Hauser, a man who embarks on a virtual vacation to Mars but returns with some harrowing memories.
Soon mysterious government types are on his tail and it’s up to Quaid to decide what’s real and who he’s really fighting for. An inventive and absorbing sci-fi tale packed to the brim with action and, yes, more Arnie one-liners.
A historic chapter in the careers of both Arnold Schwarzenegger and Cameron, Arnie may not have taken centre stage for The Terminator but he remains the lasting image of an action film that has touches of both sci-fi and horror to it and mixes touches of genuine emotional drama with a surprising dose of humor and some eye-catching set-pieces..
Everyone knows the story: Schwarzenegger plays a cyborg assassin sent back in time to kill the mother of the future leader of the resistance against the army of robots threatening to enslave all of humankind. It’s a terrifying performance that helped cement Schwarzenegger as so much more than just another bodybuilder turned actor. He’s a machine.
Arnold Schwarzenegger’s answer to Rambo, Commando is a big, brash and all the better for it. The Austrian Oak plays a retired Special Forces colonel forced back into action after his daughter is kidnapped by a former colleague turned foe.
Arriving with the tagline “Let’s Party” Commando has everything you know and love about Schwarzenegger action movies: crazy bad guys, big explosions, high body counts and those trademark Arnie one-liners. Schwarzenegger has done better action movies for sure, but few are as fun as Commando.
A genuine treat, full of quotable lines, eye-catching action and some inspired writing.
The testosterone was turned up to 11 for this John McTiernan-directed sci-fi action epic which has stood the test of time and rarely been bettered. Arnold Schwarzenegger plays Dutch Schaefer, a black ops soldier leading a crack team of soldiers on a top secret mission in an undisclosed Central American jungle.
Their mission soon becomes derailed, however, when Schaefer and Co. encounter an alien force capable of unspeakable violence. These soldiers aren’t going down without a fight though. Schwarzenegger was in his prime during Predator and ably supported by a cast brimming with talent.
There’s Jesse Venture, Bill Duke and the excellent Carl Weathers to name but a few. Together, they offer up a raft of quotable lines, gruesome deaths and some of the best jungle-based action ever put to film. A genuine masterpiece.
How do you improve on a film like The Terminator? Simple: bring back the first movie’s most iconic element, Arnold Schwarzenegger, and make him the good guy. This time around Arnie’s robot assassin has been reprogrammed to protect the future leader of the resistance, a teen JohnConnor (Edward Furlong). He’s got his work cut out for him though with Robert Patrick’s shape-shifting T-1000 Terminator on their trail.
Two-and-a-half hours of breathless, cutting-edge action ensues, rarely letting up for a second. Schwarzenegger is at his best, finding a way to draw tears and laughter from audiences with a physically demanding performance as the central T-800 robot.
His ability to play these robot roles with such aplomb rarely gets the credit it deserves. In the great debate about sequels that outstrip their predecessors, Terminator 2: Judgement Day begs inclusion.
The project, which is already in production with what looks like tons of interview footage already compiled, aims to be “the most comprehensive retrospective of the ‘80s action film genre ever made.”
The Ultimate Action Movie Club is 100% about honoring the ultimate legacy of 80s and 90s action movies. We love the genre for its over-the-top stars, the ridiculous plots and the huge muscles, guns and explosions. It’s cool to see a project bringing so many action movie players and legends together for the common cause of appreciating ULTIMATE ACTION MOVIES!
Here are a few of the key interviews so far included.
Bill Duke (Predator, Commando) discusses The Predator’s difficult production – and being on set when Jean-Claude Van-Damme was fired.
Vernon Wells (Commando) on his role as iconic villain Bennett – and how to steal scenes from under Arnold Schwarzenegger.
Cynthia Rothrock (China O’Brien, Lady Dragon) on the obstacles she faced when entering the action genre – and why Hong Kong was easier to break into than Hollywood.
Producer Mario Kassar (First Blood, Rambo II, Total Recall, Red Heat) discusses how he brought the Rambo franchise from page to screen – and how it came to redefine action cinema.
Ronny Cox (RoboCop) on how he almost reprised his role as corporate villain Richard “Dick” Jones in RoboCop 2 – despite his character dying in the first film.
Screenwriter Steven E. de Souza (Commando, Running Man, Die Hard) talks about the challenges (and joys) of writing Arnie’s one-liners.
Screenwriter Graham Yost (Speed, Broken Arrow) on the evolution of action films into the ‘90s.
Composer Stan Bush (Bloodsport, Kickboxer) on how to write an inspirational power ballad.
Screenwriter Zak Penn (Last Action Hero, Ready Player One) on why nostalgia for the 1980s is stronger now than ever before.
Rewards and Action Movie Swag
UAMC would absolutely recommend supporting this IndieGogo project. While there doesn’t appear to be any VHS copy options at this point (we’ll have to have a word with the producers about this!), there are some pretty cool rewards and swag options.
The producers are based in the United Kingdom, so prices will have to be adjusted for your market, but would highly recommend the DUTCH option which gets you a Bluray + digital soundtrack! But there are also sweet options for T-Shirts and posters as well.
Ultimate Action Movie Club Legends
What we’re really excited about is the behind-the-scenes stories from these action movie legends. If you’ve read our site for some time, we’ve seen UAMC classics like Bloodsport, Rambo and Terminator like a billion times – and have covered each in almost every way possible.
But there’s always more ultimate awesomeness to check out! We’re also super excited to see UAMC friend of the blog Sheldon Lettich as an interview contributor (here’s our interview with Sheldon earlier this year).
Die Hard 6 Will Officially be a Prequel Starring a Young John and Holly McClane!
It looks like Christmas is coming early for Die Hard fans! Or, maybe it just pisses you off to see the ultimate franchise still chugging along. But regardless, the 6th Die Hard feature will officially be a prequel titled – McClane – and will somehow star Bruce Willis once again.
Rumors of a Die Hard 6 have been bouncing around the internet for quite some time. Originally a working title of Die Hard: Year One was attached, but apparently that awful title has been scrapped in favor of a more iconic attempt.
The big question for this next iteration is the highly controversial concern of the film’s ultimate rating. In an interview with /Film, attached producer Lorenzo Di Bonaventura says of a possible R-rating:
“I hope so … Look, I’m not in charge of that. Would I prefer it? Absolutely.”
However, it remains to be seen as attached director Len Wiseman is back on board after directing the 2007 Live Free or Die Hard which was PG-13 – the only of such in the franchise.
The issue with the rating, at least by UAMC standards, comes down to just how awesome the movie could potentially be. With so many re-imagining storylines recently coming out for major franchises though (like Transformer’s Bumblee and X-Men’sLogan), it appears studios like changing style and tone when possible.
This is perhaps the most odd part of the recent news regarding McClane. Bruce Willis is, well, Bruce Willis, and if he’s in the film he will most probably play an age appropriate role for himself to kick butt. According to the /Film interview, Holly McClane is slated to both appear as a her similar older aged self, as well as… a young Holly McClane.
If this is somehow more than just a simple flashback, then what is this movie really? And how would Bruce Willis find the screentime to make it a proper Die Hard?
What are your thoughts on Die Hard and the upcoming McClane? Let us know in the comments or on our Facebook page!
Why we continue to love the ultimate sci-fi action western Robocop (1987)
The universal appeal of the original Robocop is astounding. It has enough heart-pounding action and snappy dialogue to hook mainstream moviegoers, and enough philosophical density to secure it a place in the Criterion Collection.
While no movie is perfect, Robocop is as close as it gets. Everything works. It’s as much of a penetrating dystopian satire as A Clockwork Orange, as thrilling an action movie as Aliens.
The story is tight, without a wasted moment or superfluous line of dialogue. Paul Verhoeven’s direction is inspired, ratcheting up the violence with a great flair for dark comedy while never neglecting Robocop’s quest to regain his humanity.
Robocop takes place in a future Detroit where psychopathic criminals and corrupt corporations rule the streets. Joining law enforcement risks one’s coming home in a body-bag, but that doesn’t stop idealistic Alex Murphy (Peter Weller) from doing his duty. Unfortunately, during what should be a routine drug bust with partner Annie Lewis (Nancy Allen), Murphy is shot to pieces by drug dealer Clarence Bodicker (Kurtwood Smith) and his cronies.
Enter Omni Consumer Products, the corporation that essentially runs the Detroit police department. Senior Vice President Dick Jones (Ronny Cox) proposes ED-209, an enforcement droid, aid the officers in cutting down crime. After a demonstration shows ED has trouble discerning between criminals and innocents with gruesome results, ambitious executive Bob Morton (Miguel Ferrer) steps in to promote the Robocop program, which only needs a volunteer to get going.
Conveniently, Murphy is put into critical condition just as Morton gets the green-light. Organs and head salvaged, Murphy is reborn as Robocop, the ultimate crime-fighting machine, unencumbered by human frailty. At least, that’s the ideal.
Despite his programming, old memories resurface. Encouraged by Lewis, Robocop starts regaining some of his former personality. His quest to stop crime becomes very personal when he decides to avenge his own murder—a decision which puts him at odds with both the criminal underworld and OCP itself.
Robocop: a Hybrid Sci-Fi Action Western
Robocop is a genre hybrid if ever there was one: a satirical sci-fi action western. The satire of 1980s American culture, with its excess and Cold War anxieties, are mocked in commercials and news clips that sporadically break up the action. These inserts are not only hilarious, but they strongly establish the crass materialism and casual disregard for human life which permeate Robocop’s Detroit.
The western part is rarely discussed, but many of the same tropes are at play. Robocop’s Detroit is an urban Wild West, where innocents are oppressed by corruption in high and low places. Robocop is the law-abiding gun-slinger, Lewis his faithful partner. The final showdown between the resurrected Murphy and his killers evokes western classics like High Noon, where both a community’s welfare and a man’s soul are at stake.
Of course, as an action film, Robocop does not disappoint. The film is (in)famous for its grotesque, over-the-top violence, a perfect match for the excessive setting. Explosions dominate many of the action scenes, where buildings and cars erupt into flames. One wonders how much of the budget covered blood squibs and breakaway glass. Every other moment, it feels like someone is being thrown out a window or filled with lead—often both at once!
Much of the time, the violence is used to comedic effect, such as the malfunction of ED-209, where an unlucky corporate lackey dies in a flurry of bullets, jerking around like a possessed marionette beneath torrents of blood. Other times, the violence is horrific, such as when Murphy is murdered. Though just as violent as the ED-209 scene, Murphy’s death is shot with all the visceral distress of a horror movie sequence.
Weller’s performance is masterful, the soul of the film. As Murphy, he is a warm family man and an ordinary guy. His transformation into Robocop not only makes his voice robotic and his movements stiff, but it mutes this warmth. When busting criminals, Robocop is collected, cool, and intimidating. However, genial interactions with others confound him, and resurfacing memories of his family awaken foreign emotions he struggles to comprehend.
The most telling example of this occurs early on when Robocop rescues a woman from two rapists. Tearful and relieved, the woman embraces her rescuer, only for Robocop to stiffen then awkwardly inform her he’s set up an appointment with the Rape Crisis Center.
Little moments like that, funny as they are, show what Murphy has lost. As the film progresses, his emotional vulnerability plays off against his physical strength well, making Murphy/Robocop one of the most complicated 80s action heroes.
Fellow cast members lend Weller fantastic support. Nancy Allen is likable and tough as Officer Lewis. Robert DuQoi is entertaining as the perpetually exasperated Sergeant Warren Reed, up to his neck with bureaucratic red tape and dissatisfied employees. As Bob Morton, Miguel Ferrer sells the yuppie executive’s lack of wisdom, love of cocaine, and abundant cockiness.
The villains are so vividly portrayed that they almost steal the spotlight from everyone else. Clarence Bodicker has got to be one of the best movie villains ever and it all comes down to Kurtwood Smith. This is a guy who revels in his own corruption with such glee that it’s hard to entirely despise him, despite his unrepentant sadism. He gets many of the movie’s most memorable lines, “Can you fly, Bobby?” and “Bitches leave” being particular fan favorites.
As Dick Jones, Ronny Cox is slimy, oozing contemptible power-lust. His abuse of his authority makes him easier to dislike than Bodicker in key ways, though he is no less enjoyable to watch. The two play off one another well in their scenes together, two sides of the same criminal coin.
Robocop is a true action classic, no matter how one looks at it. Action buffs will love the imaginative chases and fights. Sci-fi fans will dig the cyberpunk dystopian details. The art house crowd will enjoy the callbacks to classic genres and the themes about society and humankind. Truly, a film with something for everyone except the squeamish.
What do you think about the original UAMC-classic Robocop? Let us know in the comments or on our Facebook page!
The new Avengers: Endgame trailer is here! But should ultimate action movie fans care?
I’ll be honest. I’m torn on this subject. Are modern superhero movies Ultimate Action Movie Club worthy? Personally, I’m not a big fan of The Avengers or really any of these modern superhero franchises. I did see and enjoy Black Panther, Thor: Ragnarok and Guardians of the Galaxy Vol. 2, but only because they seemed interesting for reasons outside of simply being the latest superhero movie.
Now we have a new trailer upon us and the debate is fresh once again. Let’s look at some reasons for and against Avengers: Endgame being considered ultimate action movie worthy.
First off, here is the first trailer for the upcoming Avengers: Endgame movie. Interested to know everyone else’s thoughts, but to me the trailer really doesn’t do much for me. Not only is there not much information about anything, there’s absolutely no action. It’s Robert Downey Jr. being sad. Then it’s some other Avengers being sad for a bit. That’s really about it!
An Argument for Superheroes being UAMC Worthy
Let’s ignore this latest trailer though. I’m sure the next trailer will begin to tease the plot points and action quite a bit more. And if there is ANY argument for the Avengers and modern superhero movies being UAMC worthy it’s squarely on the fact that they have ACTION – and usually lots of it!
Ultimate Action Movies from the 80s and 90s are notorious for having gratuitos action and violence that is used to solve all of life’s problems. Modern superhero movies are no different as every film has to come down to the same bad guy vs good guy showdowns.
Modern superhero movies are also hero driven much in the same way as classic action flicks. Instead of Chuck Norris doing his signature roundhouse you just have Captain America doing his signature – whatever the heck it is he does with that tiny shield – move. (And note: if there is one modern superhero that seems the most UAMC-worthy, it’s probably Captain America.)
It’s also worth mentioning that modern superhero, like their ultimate action movie counterparts, simply do a great job of giving audiences what they want. They make tons and tons of money because fans love seeing the same story arcs and big budget fights and CGI animations. Using Cannon Films as an example (who may be singularly responsible for action movies to begin with) is just proof that action movies were made for the masses.
Superhero Movies Are Not Ultimate Action Movies
However, let’s look at the counter. Modern superhero movies – especially this Avenger franchise – are different from classic action movies in several ways. As you can see in the Avengers: Endgame trailer they really make a meal out of their powerfully emotional characters. Unlike the singular destructive forces of Arnold, Bronson, Norris, Seagal and Van Damme who hardly bat an eye at loved ones being killed or kidnapped, these modern action heroes seem like soap opera characters – or at least similar to their WB spinoff siblings.
The biggest gripe with the modern superhero movies is the heavy reliance on CGI action. It’s basically like watching an animated movie (which is fine, but not UAMC). Every major fight scene becomes a video game cut scene where you don’t even really get a sense of what’s going on. Often the hand-to-hand fighting looks terribly choreographed and simple and certainly does not show off any significant martial arts skills or training.
As a fan of 80s and 90s action movies which themselves were very formulaic and cliched, I won’t hit modern superhero movies too hard for their sameness, but it does get a little tiring to see the same end-of-the-world stakes so quickly raised for every film and character. That’s just part of the superhero folklore, but it leaves little room for finding other unique stories and narratives.
These are just one man’s opinion though! And like I said, I’m not entirely convinced my sentiments are right. I’d be open to either giving many of these superhero movies more of a chance (I did really enjoy Black Panther), but I’m also interested in hearing from other who choose to stick to their ultimate action movie guns and stay focused on the classics.
How do you feel about modern action movies and their possibly UAMC-ness? Share your thoughts in the comments or on our Facebook page!
