Have you ever wondered why these guys -- Seagal, Stallone, Willis, et al -- manage to survive all those gunfights in which they're outnumbered? I think I've got it figured out. The enemies always miss, and the hero doesn't.
Here, Seagal has a pistol and outshoots a half dozen heavies firing at him from a few feet away. One of the heavies has a shotgun. Or maybe two of them have. It doesn't really matter. There could be a thousand shotguns blasting away at him and Seagal would still emerge with his ponytail intact.
And when it comes to mano a mano combat -- forget it. The evildoers may or may not be armed with swords or knives or blunt object but Seagal, with his skill in aikido or tempura or sushido or play-do or whatever it is, brushes them aside with a few dismissive blows. Not only is he a master of these outré skills but his physical strength is Herculean. More than once he snaps somebody's long bones as easily as we would break a toothpick. One he breaks a guy's SPINE over his knee.
I'll tell you something. (I'm getting into the spirit of the film here because Seagal uses that line, "I'll tell you something," several times, along with, "What's that supposed to mean?") These guys are fully deserving of extinction in any good Xenophobe's handbook. They are all black, speak with unintelligible Jah-MAY-can accents, wear dreadlocks that look in dire need of a shampoo, they torture and murder with aplomb, and -- here's the worst part. They're unchristian. That's right. They practice voodoo.
Actually the voodoo element comes close to being the most interesting element of the film. They got the constituents of the ritual pretty well -- cigar smoke, rum spitting, the sacrificial chicken. They only left out the possession dance in which the spirit rides the dancer. They should have read Metraux on voodoo.
Otherwise the plot adheres to the usual conventions. What was done to Jaqueline Bissett by the voodoo-practitioners in "The Deep" is done here to a friend of Seagal's. What was done to John Wayne when he was stuck between trucks in "McQ" is done here to Seagal himself. At the movie's very opening, when Seagal makes a brief speech about having seen too much pointless violence in his DEA career so he's now happily retired, and when we are introduced to his friends and family, I tried to keep track of his affiliates to see if I could pick out which ones would be horribly murdered or maimed to generate his quest for revenge.
The acting doesn't really require much comment. But Charles, the Jamaican cop, played by Tom Wright, is really pretty good. Wright has considerable range. Here, he's an associate of dubious allegiance, rather sinister. But in "The Pentagon Wars" he has a comic part that he underplays perfectly.
The Jamaicans never flew as movie villains. I don't know why exactly. It's a small movie market. And if you go to Jamaica stick to Montego Bay. However, if you want to see Jamaican voodoo drug dealers as heavies, and if you're in the mood for another typical-standard action flick, this should be a satisfying view.
Here, Seagal has a pistol and outshoots a half dozen heavies firing at him from a few feet away. One of the heavies has a shotgun. Or maybe two of them have. It doesn't really matter. There could be a thousand shotguns blasting away at him and Seagal would still emerge with his ponytail intact.
And when it comes to mano a mano combat -- forget it. The evildoers may or may not be armed with swords or knives or blunt object but Seagal, with his skill in aikido or tempura or sushido or play-do or whatever it is, brushes them aside with a few dismissive blows. Not only is he a master of these outré skills but his physical strength is Herculean. More than once he snaps somebody's long bones as easily as we would break a toothpick. One he breaks a guy's SPINE over his knee.
I'll tell you something. (I'm getting into the spirit of the film here because Seagal uses that line, "I'll tell you something," several times, along with, "What's that supposed to mean?") These guys are fully deserving of extinction in any good Xenophobe's handbook. They are all black, speak with unintelligible Jah-MAY-can accents, wear dreadlocks that look in dire need of a shampoo, they torture and murder with aplomb, and -- here's the worst part. They're unchristian. That's right. They practice voodoo.
Actually the voodoo element comes close to being the most interesting element of the film. They got the constituents of the ritual pretty well -- cigar smoke, rum spitting, the sacrificial chicken. They only left out the possession dance in which the spirit rides the dancer. They should have read Metraux on voodoo.
Otherwise the plot adheres to the usual conventions. What was done to Jaqueline Bissett by the voodoo-practitioners in "The Deep" is done here to a friend of Seagal's. What was done to John Wayne when he was stuck between trucks in "McQ" is done here to Seagal himself. At the movie's very opening, when Seagal makes a brief speech about having seen too much pointless violence in his DEA career so he's now happily retired, and when we are introduced to his friends and family, I tried to keep track of his affiliates to see if I could pick out which ones would be horribly murdered or maimed to generate his quest for revenge.
The acting doesn't really require much comment. But Charles, the Jamaican cop, played by Tom Wright, is really pretty good. Wright has considerable range. Here, he's an associate of dubious allegiance, rather sinister. But in "The Pentagon Wars" he has a comic part that he underplays perfectly.
The Jamaicans never flew as movie villains. I don't know why exactly. It's a small movie market. And if you go to Jamaica stick to Montego Bay. However, if you want to see Jamaican voodoo drug dealers as heavies, and if you're in the mood for another typical-standard action flick, this should be a satisfying view.