Kabuki Waq
Member
so I take it none of you guys have seen hardboiled?
in terms of pure action it can't be beat.
in terms of pure action it can't be beat.
My philosophy is actually the opposite. Characters in action films don't matter unless they can deliver great action scenes. For me, action films are all about action and pacing.
I'd have Raiders up there, but I think that's more of an adventure movie than straight up action.
Before the late 80s, there wasn't really a separate conception of "action" and "Adventure" within the genre. Action/Adventure was just what it was called. And then after a glut of Schwarzenegger and Schwarzenegger knockoffs started hitting shelves, people began to segregate the two much more cleanly, when they didn't really need to. And at some point in the late 90s, it was pretty much done: There was now a big wall between "Action" and "Adventure"
If anything, it's the film equivalent of people who try to say "rap" is differen't than "hip-hop."
so I take it none of you guys have seen hardboiled?
in terms of pure action it can't be beat.
For cheesy action movies, True Lies is the best.
That would be Terminator 2.
Die Hard
For cheesy action movies, True Lies is the best.
Great top five1. Mad Max: Fury Road
2. Raiders of the Lost Ark
3. Die Hard
4. Aliens
5. Predator
I'll never understand why people list movies with mediocre to solid action/choreography for best action movie of all time, but I just let it slide like many mentions in these lists.It's probably Die Hard or Raiders of the Lost Ark. Terminator 1 and 2, Aliens, Casino Royale, The Matrix, Fury Road, etc, are all good choices too.
I'll never understand mentions of films like The Raid - the action itself means nothing if you aren't invested in the characters. It's just meaningless choreography.
The GAF poll's already been linked in here, but I'm still amazed it didn't even make the top 5 there (despite only having one less #1 vote than T2), and that it missed the top 5 because a lot of people voting didn't even consider it an action film at all, much less the best one ever made.
That poll's also funny because people swear Fury Road got overrated, when I bet if you run it in another 6 months, T2 will drop beneath it.
As it should.
s it was the first foreign film I have ever seen.
Should've been first post but #4 isn't too bad. Commando is perfection.
Commando
Commando.
The action isn't even all that good in Robocop. Or Commando.
It's always weird seeing those two pop up in these discussions.
When I watch Commando, I am reminded of Entertainment Weekly's review of Uwe Boll's disastrous video game adaptation, Alone In The Dark:
"When the giant, intelligent bees of the future sift through the ashes of our civilization, they will find Alone in the Dark, and they will understand. It's so bad it's postmodern." - Scott Brown
We are the giant bees of the future sifting through the remains of the 1980s, and when we find Commando, we understand. Traditional boundaries between "good" and "bad" are demolished, and the concepts blur until they become one. Commando is good because it's bad, bad for exactly the reasons that make it so good.
Only in the 80s could a film like this have been taken at face value. In fact, the film acts as a sort of shadow play of the tackily neon, terribly hairstyled soul of 1980s American culture. In these more enlightened times, it's easy to laugh at Commando's 80s terribleness: the homoerotic undertones, the ridiculous dialogue, the implausible stunts, the comically excessive violence, the simple right-wing ideology underpinning the slaughter. But Commando transcends the tropes of the 80s action genre by embracing its own ludicrousness. It's almost as if the film-makers knew that the genre they were operating in was absurd, and decided to embrace the absurdity and push it to its very limits. They were making the film for the evolved future generations of movie fans.
Probably the biggest clue is in the film's plot, which I'll summarise: former commando John Matrix (!) has his daughter kidnapped by Arius, former dictator of a fictional Latin-American republic, who Matrix helped depose from his seat of power. In an ironic twist, Matrix is forced to assassinate the same president he helped to install, or his daughter dies. His character must struggle through an inner moral battle, with the life of his daughter weighed up against the freedom of a nation.
Except none of it ever happens. Arnie's character resolutely ignores the plot: he kills every bad guy who tries to talk to him, until they resort to strapping him down on a table just to tell him the plot essentials. Having been put on a plane to begin his mission, Arnie kills the goon watching over him and exits the aircraft mid-take-off in a scene that's completely implausible for at least three wonderful reasons. From there on, he spends the rest of the film murdering every bad guy in sight with a resolute lack of moral concern.
This is a film where the hero almost literally shoots the plot in the head until the film is over. It's as though another, much smarter film is in there, only for John Matrix, the essence of 80s action distilled and coalesced into one character, to symbolically shoot it in the head in favour of the quip-filled, hilarious, utterly stupid madness that actually makes it onto the screen.
The film acts out its generic meta-dialogue within its own screenplay. It becomes 80s action multiplied by 80s action. The 80s squared. The 6400s, if you will. This is why Commando isn't just an 80s action movie but THE 80s action movie, why the quips are funnier, the body-count higher, the bad guys more comical, the action more satisfying, the celebration of the hero's uber-manliness so over-zealous. The film-makers saw the light at the end of the tunnel, and it was the muzzle flare of a minigun.