Prequel to the first Missing In Action, set in the early 1980s it shows the capture of Colonel Braddock during the Vietnam war in the 1970s, and his captivity with other American POWs in a brutal prison camp, and his plans to escape.
The archetypical renegade Texas Ranger wages war against a drug kingpin with automatic weapons, his wits and martial arts after a gun battle leaves his partner dead. All of this inevitably ... See full summary »
Danny O'Brien is back in action fighting the notorious Simon Moon, also known as The Terror. Three years earlier O'Brien had single-handedly captured The Terror and was called Hero by the ... See full summary »
After surviving an attempt on his life by his former partner, officer Cliff Garrett (Norris) exacts revenge on those who wronged him by going undercover as a hit man. He works to gain the ... See full summary »
A terrorist, Rostov, is planning to unleash a reign of terror on the U.S.. But before he does he decides to go after Matt Hunter, a former CIA agent who lives in Florida. Hunter once had Rostov's life in his hands, but on orders took him alive, and now Rostov is plagued by nightmares of Hunter killing him. So Rostov goes after him but misses, so Hunter, who has already been approached by his former employers to go after Rostov, after initially turning down the job, because he believed that they should have let him terminate Rostov when he had the chance, decides to go after him. But he is only one man and Rostov has hundreds of men ripping the country apart, so how will he stop it? Written by
Tomas and his henchman arrive at the strip club in a brown Chevy Camaro, and park beside a red Cadillac. After dispatching some thugs and a prostitute, Hunter breaks Tomas' hand and puts a live grenade in it. Everyone scampers for safety except the wounded Tomas, who throws the grenade through the window. It lands on the Cadillac, blowing it up. The Camaro has disappeared. See more »
If you come back in, I'll hit you with so many rights you'll be begging for a left.
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Even if you were not aware of the tongue in cheek web phenomenon that pitts Mr Norris against the world in a series of ludicrous, herculean stand offs, (it may well be one of the funniest and longest running "jabs" at a cult eighties celebrity) the re modifications the action genre has gone through since the Eighties have ensured that today, even the most casual viewer can expect something more from his hero beyond barking machine guns and cheesy one liners.
Sadly, it is not a question of "Invasion USA" simply having aged rather badly over the years. Without wishing to state the obvious the film is truly dire - for reasons that go well beyond basic maturation. In fact had Mr Norris not been so delightfully mocked in the site mentioned above, the film's ripe comedic scenarios could just have easily have been mined for other, far less savory material.
The film's opening could be said to ape that of the vastly superior "Scarface" - it's establishing shot depicts a small boat filled with Cuban refugees, drifting on the ocean. The appearance of the American coast guard, (apparent "saviour" here, judging by the ecstatic response of the boat dwellers) turns out, after fake smiles and reassurances, to be the bad guys in disguise. They then proceed to gun down the entire group in a typically meat headed episode that sets the precedent for all shoot outs to follow. (didn't punters tire of this sort of thing, even in the gung ho Eighties?)
The point is clumsily hammered home, in a manner akin to so much fascist propaganda and in that delightful oxymoron "I'm not racist but...". Real immigrants aren't the problem, (well, unless they're called Tony Montana) it's this "other" lot that we've got to watch out for.
At first this agenda is clearly set out - the group are led by a Russian. Russians are evil. (Nice and simple red baiting stuff, likely to be endorsed by even Reagan himself) Yet the boundaries drawn by this bad guy cut out start to become increasingly more blurred the more the film progresses.
As the bullets start to pile up so too does the apparent lack of concern displayed by Norris' character, Matt Hunter, (subtle huh?) as he casually guns down an increasingly more eclectic range of ethnic groups. The Russian defined at the film's start could now just as easily be "Asian looking guy" or "Latin American" or "African looking guy". Unsurpringly, these little blips regarding identity seem not to affect the gusto with which Chuck goes about his mission.
Which brings us to the acting presented here by Mr Norris. Consisting primarily of occasional, barely audible lines of dialogue, punctuated by stern, granite-faced stares into the distance, (in anticipation of the film's ending credits?) the overall effect is something akin to being told a bedtime story by an elderly relative who served in the Korean War. A relative that just happens to detest words in any shape or form and once drowned a book because its cover was too shiny.
Just in case you didn't get it, Norris won't be appearing anytime soon at your local fringe theatre. The man is all machine gun bark and zero bite - precisely the reason why he is so beloved within the action fan (and student) community. Ploughing through one showdown to the next, barely masking his contempt for Aryan commie terrorists or police officers alike, he makes even Arnie's "tougher" roles in similar vigilante fare (such as "Commando" and "Raw Deal") seem rather cuddly by comparison.
Whereas in an Arnie film a little harmless flirting from the obligatory "skirt" might just be indulged, Chuck, by contrast, views such actions as nothing short of criminal. The raging harpie on display here only has to address the briefest of words to our man mountain for her stock to take a sudden plunge. From that point onward, the survival of this character is put into extreme jeopardy, not so much from the bullet of an enemy's gun but from the far more likely source of Chuck himself, threatening at any time to stick one of his much feared "roundhouse kicks" on her.
God bless you Chuck, you great big misogynist, monosyllabic marvel. How richly did you embody the crass, paranoid landscape of 1980s America.
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