Tag Archives: Jean-Claude Van Damme

Timecop (1994, Peter Hyams)

Timecop is deceptively competent. Sort of. There’s often something off about it, but then director Hyams will do something else decent and distract. Hyams also manages to get a perfectly serviceable performance out of lead Jean-Claude Van Damme. Van Damme’s unsure, cautious performance–he tries to understate his terrible attempts at one-liners–is a great counter to Ron Silver’s bad guy.

Silver’s all over the place, the evil senator out to use time travel to win the presidental election and go after “special interests.” Who knew Timecop would be so prescient. Anyway, Silver’s a caricature playing a caricature. He’s definitely evil; he’s just nothing more.

Some of what’s wrong is the plotting. Timecop has a full plot, it just doesn’t have any character development. It’s like someone went through and chucked it. Van Damme’s wife dies mysterious. He’s haunted. And he’s a timecop. Even though he doesn’t do much as a timecop. The movie apparently doesn’t have the budget for multiple jaunts, just a couple before Van Damme is only jumping back to 1994.

You know it’s the past because there aren’t the future cars of 2004. They’re bulky self-driving things. Their design is unfortunate, but there’s a certain dedication to the special effects and design work. It’s like Hyams refused to be dismissive of the concept and he was going to do whatever he could.

Mia Sara’s okay as Van Damme’s wife, though she’s only around to be a damsel in distress and to beg Van Damme for nookie. Screenwriter Mark Verheiden does caricature, never anything more. When he gets around to a contradictory character, someone who can’t just be a thin caricature, he dumps the character as soon as possible.

It’s what happens to Gloria Rueben. She’s not good, but she’s kind of likable. She’s not as likable as Bruce McGill, who has to pretend to give a crap about time travel exposition. He’s Van Damme’s gritty boss who’s really just a softie.

The rest of the cast is the seemingly endless group of thugs Silver sends after Van Damme. Some of the resulting fight scenes are good, but Hyams drags it out too long. The movie’s not even a hundred minutes and the last third has multiple slowdowns. There’s an action set piece on a Victorian house’s roof. First, how does Van Damme afford such a big house in the DC area. Second, it’s boring. Van Damme can’t high kick or do the splits while he’s crawling around the roof–in a rainstorm–trying to save Sara (again). Hyams’s direction of the sequence doesn’t suggest any great interest in doing an action scene on a Victorian house’s roof. Nothing about the architecture actually lends itself to the sequence. Someone must have really wanted an action scene on a house roof.

By the third act, the absence of character development and transitional scenes have caught up with Timecop. Even the time travel-related story twists get tired. The movie’s hook isn’t Van Damme’s fighting, it isn’t the time travel, it isn’t the special effects. So what’s the hook supposed to be? Ron Silver ostensibly slumming only to be revealed as a perfect B-movie villain? Sloane Peterson? Certainly not Hyam’s cinematography (he’ll compose a perfectly good shot then screw it up with the lighting). Not Mark Isham’s simultaneously derivative and generic sci-fi movie score.

Timecop’s a disappointment. Hyams appears to know better, but doesn’t do better. I mean, Sam Raimi produced Timecop. He must have know the lighting was a big problem in the dailies.

0/4ⓏⒺⓇⓄ

CREDITS

Directed and photographed by Peter Hyams; screenplay by Mark Verheiden, based on a story by Mike Richardson and Verheiden and a comic book by Richardson and Verheiden; edited by Steven Kemper; music by Mark Isham; production designer, Philip Harrison; produced by Moshe Diamant, Sam Raimi, and Rob Tapert; released by Universal Pictures.

Starring Jean-Claude Van Damme (Max), Mia Sara (Melissa), Ron Silver (McComb), Bruce McGill (Matuzak), Gloria Reuben (Fielding), Scott Bellis (Ricky), and Jason Schombing (Atwood).


RELATED

Advertisements

Hard Target (1993, John Woo), the unrated version

There’s nothing spectacularly wrong with Hard Target. It’s a competently executed early nineties action movie. There’s a lot of good stunt work and some amazing pyrotechnics. Lance Henriksen is great as the villain. Wilford Brimley is in it as a Cajun assault archer. Almost everything about it is absurd, but not really out of the ordinary for the genre. It even tries for serious with a little bit of social consciousness–Henriksen is playing the most dangerous game with homeless veterans.

Director Woo is fantastic at making the perfunctory plot points seem sincere. He’ll slow down the close-up, leaving the viewer to inspect the actor’s reaction to something. Usually it’s Butler seeing lead Jean-Claude Van Damme do some amazing feat. One time he’s just standing there and it’s Butler in awe of the standing Van Damme. That scene is an example of something else wrong–but not spectacularly so–with Hard Target. No one’s willing to have any fun. Not even Brimley, when he finally shows up.

There’s no humor in Chuck Pfarrer’s script–at least no successful humor–but Van Damme’s character is particularly thin. He’s a man of mystery. So Woo’s impulse is to go for charming man of mystery and Van Damme botches it. Van Damme can’t even wink. He’ll make these single rapid eye movements towards a character and everyone pretends it’s a wink. He’s without charm.

But Van Damme’s not unbearable. His pseudo-Cajun accent needs work and he looks like a romance cover hero, not a down-on-his-luck street fighting merchant seaman. His stringy mullet is funny, especially once all the stunts start up and you have to wonder if Van Damme had to have the mullet because his mullet-wearing stuntmen aren’t willing to cut theirs off. And Woo’s direction of a couple Van Damme fight scenes is excellent. The fist fight isn’t Woo’s interest though; even when there are fisticuffs in post-first act fight scenes, Woo rushes to get guns in those hands. Van Damme’s not great at the gunfights, but then he starts doing somersaults through the air and seems happy again. Lots of flips in Hard Target. None of them convincing and they get old fast.

Luckily, they’re in the finale so it doesn’t matter. It’s all almost over.

There are some good performances. Henriksen, most of Arnold Vosloo (as Henriksen’s sidekick), Willie C. Carpenter; Kasi Lemmons is okay as the one cop. There’s a strike going on, which seems like it might be a subplot but isn’t. Hard Target doesn’t do subplots.

Leading lady Yancy Butler is pretty slight. Woo wants a lot of emoting. Butler emotes a little less than Van Damme, who’s got the emotional range of a rock pile. Thanks to Bob Murawski’s editing, occasionally Woo can imply something from Butler for a moment or two. It’s not like Chuck Pfarrer’s script gives her any depth either. Thank goodness for Woo.

Nice photography from Russell Carpenter. Nice editing from Murawski. Awful music from Graeme Revell.

Despite Woo’s direction, Henriksen’s villainy, the New Orleans locations, and the strong technical competence, Hard Target doesn’t click. The major action set pieces of the second half disappoint. Because the movie needs a sense of humor. Not Brimley drying gnawing at the scenery.

0/4ⓏⒺⓇⓄ

CREDITS

Directed by John Woo; written by Chuck Pfarrer; director of photography, Russell Carpenter; edited by Bob Murawski; music by Graeme Revell; production designer, Phil Dagort; produced by Sean Daniel and James Jacks; released by Universal Pictures.

Starring Jean-Claude Van Damme (Chance Boudreaux), Lance Henriksen (Fouchon), Yancy Butler (Nat), Arnold Vosloo (Van Cleef), Kasi Lemmons (Mitchell), Willie C. Carpenter (Elijah), and Wilford Brimley (Uncle Douvee).


RELATED

The Expendables 2 (2012, Simon West)

The Expendables 2 plays a lot like an eighties “G.I. Joe” toy commercial. The vehicles all fire missiles and have detachable smaller vehicles. As opposed to having absurdly named characters with silly themes (there’s no “ninja Expendable”), the characters instead have silly names and amusing personalities. The script, from Sylvester Stallone and Richard Wenk, throws realism out the window, gets way too meta for its own good (the Terminator jokes for Arnold Schwarzenegger are immediately tiresome), but a lot of the character work is good.

The best performances are from the returning principals–Stallone, Jason Statham, Randy Couture, Terry Crews and Dolph Lundgren. While Stallone only has one good scene–opposite new (and female) Expendable Nan Yu–and Statham’s just reliable, Couture, Crews and Lundgren are hilarious. Their little asides, while absurd, often make the movie.

As for the rest… Schwarzenegger is terrible, Chuck Norris is an unbelievably bad actor (one imagines Lee Strasberg turning in his grave at every line), Jean-Claude Van Damme’s villainous (doubly, since his name is “Vilain”) but disposable and Bruce Willis is okay if slightly embarrassed.

In supporting roles, Liam Hemsworth’s awful as another new Expendable but Scott Adkins’s decent as bad guy.

Shelly Johnson’s cinematography is weak, as is Bryan Tyler’s music, but a lot of Expendables 2 is passable. Even if it does heavily rip off Indiana Jones and the Temple of Doom.

Simon West’s action is intense but cartoonish, which also describes the entire project.

Better plotting would’ve helped a bunch.

1/4

CREDITS

Directed by Simon West; screenplay by Richard Wenk and Sylvester Stallone, based on a story by Ken Kaufman, David Agosto and Wenk and characters created by Dave Callaham; director of photography, Shelly Johnson; edited by Todd E. Miller; music by Brian Tyler; production designer, Paul Cross; produced by Danny Lerner, Les Weldon, Basil Iwanyk, John Thompson, Avi Lerner and Kevin King Templeton; released by Lionsgate.

Starring Sylvester Stallone (Barney Ross), Jason Statham (Lee Christmas), Jet Li (Yin Yang), Dolph Lundgren (Gunner Jensen), Chuck Norris (Booker), Jean-Claude Van Damme (Vilain), Bruce Willis (Church), Arnold Schwarzenegger (Trench), Terry Crews (Hale Caesar), Randy Couture (Toll Road), Liam Hemsworth (Billy the Kid), Scott Adkins (Hector), Nan Yu (Maggie), Amanda Ooms (Pilar) and Charisma Carpenter (Lacy).


RELATED

Universal Soldier: Regeneration (2009, John Hyams)

Wow, Peter Hyams made the only sequel to a Stanley Kubrick film and now he’s the director of photography on garbage like Universal Soldier: Regeneration. What’s so exceptionally lame about this movie is Hyams–the director–and the screenwriter’s disinterest is making an interesting story for original stars Jean-Claude Van Damme (though he comes a little closer) and Dolph Lundgren (but Lundgren’s apparently finally learned to act, from his thirty-some lines) and instead want to make a franchise for Mike Pyle, who plays a moronic U.S. soldier.

Interesting, though I’m sure unintentional is the film’s politics–basically, the U.S. is filled with war junkies who put their noses in places don’t belong.

Pyle’s performance is exceptionally bad and the movie doesn’t even give him a fun death scene. I’d been waiting like an hour to watch him get decapitated but it’s really just a bunch of nonsense to set up a sequel.

Given Van Damme’s absurdly small part–I hate feeling like I want to see more Van Damme–I wonder if the filmmakers added he and Lundgren as an afterthought, instead of just doing the adventures of Pyle the redneck Universal Soldier.

Peter Hyams always shot his own films poorly and he doesn’t do his son any favors. Regeneration looks like someone did a contrast filter in Photoshop (maybe Hyams did, it’s probably easier). The DV is bad looking, especially with the lighting.

Laughable performances from Corey Johnson and Garry Cooper, but Emily Joyce does fine.

0/4ⓏⒺⓇⓄ

CREDITS

Directed by John Hyams; screenplay by Victor Ostrovsky, based on characters created by Richard Rothstein, Christopher Leitch and Dean Devlin; director of photography, Peter Hyams; edited by Jason Gallagher and John Hyams; music by Kris Hill and Michael Krassner; production designer, Philip Harrison; produced by Craig Baumgarten and Moshe Diamant; released by Foresight Unlimited.

Starring Jean-Claude Van Damme (Luc Deveraux), Dolph Lundgren (Andrew Scott), Andrei Arlovski (NGU), Mike Pyle (Captain Kevin Burke), Corey Johnson (Col. John Coby), Garry Cooper (Dr. Porter), Emily Joyce (Dr. Sandra Flemming), Zahary Baharov (Commander Topov), Aki Avni (General Boris) and Kerry Shale (Dr. Colin).


RELATED