by Jox on 21 Feb 2020, 17:52
Yes, but to me the likes of THE MECHANIK, MISSIONARY MAN, or like what seemed to be MALEVOLENCE have more character intimacy to them (and in them almost by default), it's not solely set pieces that focus on the selling point of "you'll see action scenes one after the other".
You can make these character pieces, even art-house, critically interesting films,that's what I'm trying to express... much harder and less likely to happen with the "all action" high-concepts.
And what interest me in the first place with any film of the "action" genre. Yes, there was his take on the material, but it was there on the page. Whereas heist, "terrorist", whatever set pieces flicks, it's even less likely to be there from the get-go, and you know right away the reason (more so today) they're green-lit is to avoid to go there which is a BIG mistake artistically/creatively in my opinion.
As much as I love THE DEFENDER, it does not have that and it's a miracle I get a kick out of it as much as I do. I barely enjoy cult-classics such as DIE-HARD as much as everybody else do because of that (I'm not afraid to say it and come out anymore). There's character moments and building and all, but it's rarely raw emotion or intimately scaled in those because scope takes over and becomes the main focus...
If we stick to Dolph's career, it's a huge problem with COMMAND PERFORMANCE except for some sparse (scarce? losing my Engish) moments that should have been given more importance for the film to make a stronger impact.
To me it's quite clear it's not pure coincidence if this gets rolling quickly whereas the same team couldn't make MALEVOLENCE (which they actually had actually launched publicly exactly 3 years ago at 2017 EFM)... You had a clear personal story versus some stupid rivalry between two criminal gangs who surely won't take the time to share their fears and feelings to each other... Here it's like they're going for their own little OLYMPUS/LONDON/ ANGEL/WHATEVER FALLEN flick (needless they're not my cup of tea).
There's a reason Clint Eastwood got more respect and acclaim for making his, and they were not THE TOWERING INFERNO.
Last thing, I don't seem to have the same sensibility as most action aficionados and I come from a country and and educational background of snobby intellectuals (even when it comes to critics of genre films) so that's where I am and always have been coming from, I don't know how it would have been like had I been raised and influenced by another mentality, another culture, and I'm sorry for that.