The Cult Corner: Short Time (1990)

It's Time to Give This 90's Gem Another Look

by robotGEEK

Dabney Coleman just doesn't get enough credit for being such a great actor. He steals the show in everything he comes out in, from Tootsie, to 9 to 5, to Cloak & Dagger (a personal favorite), and even Boardwalk Empire. Here, at the age of 58, and attempting to play someone in their late 40's, Dabney tried his first hand at action (if you don't count Cloak & Dagger) in this forgotten action comedy that delivers more than you expect in a big way.

Released in 1990, Short Time tells the somewhat macabre story of a police officer, who at just 8 days away from retirement, mistakenly thinks he's dying of cancer and has days to live. So in order for his family to collect on his life insurance (to ensure his young son can go to college), he decides to try and get killed in the line of duty, the only way his family can actually collect on it.

With a story like that, this film probably wouldn't get made today, but I'm also glad it was made in the late 80's/early 90's because it carries a very special flavor of action that you just don't see anymore. While marketed as more of a comedy (it is amusingly charming), it's the action that takes center stage as Det. Burt Simpson (Coleman) puts himself in harms way any chance he gets in a series of car chases and shootouts, only to find that trying to get killed in the line of duty isn't as easy as he thought. Director Gregg Champion (The Cowboy Way) handles the action sequences like a pro, shooting the film and the action in an evenhanded manner, much in the way someone like John Badham would. No frills, but highly effective when composing his shots and getting the maximum out of each sequence. And I have to admit, considering it's mostly trying to be a comedy, the action is pretty badass and damn impressive, most notably a crazy huge car chase sequence that would easily rival The French Connection and To Live and Die in L.A. respectively.

The cast is pretty ace, with Dabney's ex-wife being played by Terri Garr, who also appeared in Tootsie, and Matt Frewer playing his partner. I like Frewer for the most part, but there are times when he comes across as trying too hard to be funny and goofy, and it's a bit painful. This is one of those times. Frewer would appear in another forgotten action classic the following year with The Taking of Beverly Hills. Joe Pantoliano, Barry Corbin and Xander Berkeley round out the cast.

For his part Coleman is just awesome. I've always liked him, and here, seeing him thrusting himself head-on into dangerous situations that result in some pretty impressive action sequences was such a sight to see. While he typically plays unlikable characters, he comes across as both charming, tough and surprisingly effective as the action hero lead, who despite his best efforts to get himself killed, always turns out the hero.

I honestly can't praise this film enough. It was such a stark reminder of the type of action comedies that were actually really good once upon a time. The shot-on-film aesthetic and impressive camera setups (no handheld nonsense here) lend themselves to a visually pleasing experience full of action, heart and a tiny dose of laughs. It's a shame that to date, this has never gotten a release here in the U.S. other than on VHS. Not even on DVD, which just blows my mind. I hope a company out there like Kino or Shout! Factory snags the rights to this some day and gives it a legit release, and in widescreen, which would be a first for this film.

90's Action Attack!: Silent Trigger (1999)

by robotGEEK

Dolph is my all-time favorite action star. More than Arnold, Sly, Chuck and Charles. I wish I could explain my fascination with this guy, but I can't. I just think he's the coolest action star on the planet. So the fact that I haven't seen this until now kind of blows my mind. To make matters worse, this is directed by Russell Mulcahy (Highlander, Razorback, The Shadow), a director I adore. I honestly have no excuse. I guess I was worried it might not be any good, and here, a project starring and directed by two men I admire, was sidelined by me for many years. I should also mention that it wasn't an easy film to come by anyway in widescreen. Knowing how visual a director Mulcahy was, I did not want to settle for a full frame VHS tape or DVD my first time out. If there was any chance of being able to see it in widescreen, then I would just wait for that opportunity. Luckily Amazon Prime is the perfect place for these hard to find 90's action films.

Released in 1999, Silent Trigger see's Dolph Lundgren as a professional sniper, who is double-crossed. After a brief disappearance, he re-emerges for another job, surprisingly hired again by the company that double-crossed him, only to find that he may have been double-crossed again. Along with his previous "spotter", he tries to figure out who's responsible.

Silent Trigger was a solid flick from every angle. Simple in it's premise and approach, most of the film takes place inside a building, which gives Mulcahy ample excuses to get creative with the camera. Kudos to him for still giving the film a slick sheen despite these limitations. The film does venture outside of that building in flashbacks and in it's opening sequence momentarily, but the bulk of the film takes place within an abandoned high rise building under the watchful eye of security guards.

There's plenty of action, suspense and visual flair from start to finish, and while I wouldn't call this one of Mulcahy's best films, it's better than I expected for what it is. Let's just say, I've seen some of Mulcahy's films after this and they bare little resemblance to the once visionary directors previous style and work. But considering this is a pretty standard DTV flick, it's definitely above average. It's a very small cast, with Dolph leading the charge with zero effort and all macho charisma like a pro. And honestly, had anyone else headlined this other than Dolph, I doubt we'd even be discussing it today. It's as good as it is because of his involvement, plain and simple.

In the U.S., Silent Trigger is available on VHS, Laserdisc and DVD in Full Frame (as is the case for most of Dolph's DTV stuff in the 90's). To date there has been no official widescreen release of this film on any format in the U.S., let alone Blu Ray. I am aware that there is a snazzy German Blu Ray out there, which I'll probably snag at some point (I'll need to see if it's region-free). However, I have good news for you streamers. It's available on Amazon Prime right now, and in glorious widescreen, so like me, you have no excuse to finally check this out.

A Second Look: End of Days

Arnold and director Peter Hyams breathe new life into a tired concept

by Jason Elizondo

As much as I've been a die-hard fan of both Arnold and writer/director Peter Hyams nearly all my life, End of Days has always been a film that I didn't care too much for. In fact, I maybe have only seen it less than a handful of times. It just never really connected with me in any way that I could enjoy. I always felt that it was a weird choice for Arnold, and that Hyams was capable of better, which he had proven to me over and over again throughout the 80's and 90's. And though I actually took the time to watch End of Days a few times, I just could never get into it.

Flash forward many, many years and here I am in yet another one of my Peter Hyams binges. I tend to go through these about once every year or so (he really is one of the best directors ever). So I decided to give this one another shot, because I've noticed this past year I tend to change my mind drastically when I revisit a film, which is what kickstarted my new "A Second Look" series of reviews. Raw Deal, Licence to Kill and Waterworld are some solid previous examples. So let's dig in.

When Satan takes over the body of a local New York businessman, he sets his sights on a new bride at the turn of the century. Local ex-cop Jericho (Schwarzenegger) works as a security expert who stumbles upon this plot and vows to protect the woman Satan plans to marry at all costs.

Despite my previous experiences and feelings about this film beforehand, End of Days managed to turn all of that completely on around this time out. This time it managed to keep my attention, and I noticed things I hadn't either taken the time to before, or just flew right over my head. For starters, this is surprisingly one of Arnold's best performances. I know, I know. It's crazy to even think that, but it's true! As crazy as it sounds, Arnold gave one of his most heartfelt and strongest performances as a man struggling with the loss of his family, and finding a way to continue, always close to falling over the edge.

The always reliable and "busy" Gabriel Byrne turns in another fantastic devilish performance here as Satan himself. Sure you could argue that his accent comes and goes (I honestly have no idea what type he was going for; Irish, English, Chicago?), but he sure has a helluva lot of fun doing it. Plus, he just looks fucking cool drenched in all black. Oftentimes, it's the moments when he doesn't say a word, but just gives you that devilishly fiendish look that makes him the most chilling.

As strong as the performances are, Peter Hyams, once again working as his own cinematographer, is the main reason the film works as well as it does. While it's a familiar story told many times, Hyams' magic with the camera is what makes this one a standout. Much like his previous effort The Relic, and totally unlike most of his other films, this film is dark. Not only in tone, but in it's aesthetic and use of shadows and blacks instead of natural light. This particular moment in his career saw him using a lot of muted colors of browns and gold, bathed in darkness. In fact, with The Relic and End of Days, there was hardly a moment that took place during the day or in sunlight. Purposeful of course, but not entirely unnoticeable either. Still, his particular sensibilities behind the camera work wonders with the visuals here. With this film in particular, there's no surprise that there's little action, because it's not an action film. Yet, despite it's horror/thriller genre, screenwriter Andrew W. Marlowe (Air Force One, Hollow Man) can't help but infuse "some" action because it is an Arnold Schwarzenegger film after all. And this is where Hyams blows nearly every other director out of the water in the action genre with his deft use of precision editing and camera setups. Once again, the legendary writer/director/cinematographer proves, rather flawlessly, why he was one of the best filmmakers working.

If you were wondering why Arnold was noticeably thinner and less bulky this time around, it's because he had just had heart surgery after a scare, and this was his first film in 2 years. Of course, thinner Arnold is still a much bigger version of any normal human being, even the ones in excellent shape. It's interesting that his first collaboration with such a legendary filmmaker was a horror/thriller rather than a straight-out action flick. It's amusing to think of what they could have made together in that genre, a genre that Arnold personally dominated for a number of years, and one that Hyams delivered the goods in with classics such as Sudden Death and Timecop.

One of the films most interesting positive attributes is it's stunning use of practical effects work. Believe me, I'm as surprised as you are. The 90's isn't generally regarded as a good moment in effects history, but the effects team here was on point and through the use of limited CGI, old fashioned model-work, and Hyams ability to mix it all together effectively, End of Days surprised me at every turn with it's stellar effects work.

Is it perfect? Certainly not. There are a few moments that trigger a response that you don't expect. Like the sequence when Jericho (Arnold) fights with an old heavyset lady and she actually gives him a run for his money. Or the moment when Christine (a sexy Robin Tunney), the object of Satan's desires and pursuit, claims she's been dreaming of him all her life, yet he just barely took the form of his new host a few days before. Minor issues of course and nothing that takes away from the enjoyment of the film in general.

Released in 1999, End of Days would mark the last good/great Peter Hyams film. His 2001 followup The Musketeer was met with dismal returns and universally panned by critics and moviegoers. 2005's A Sound of Thunder and 2009's Beyond a Reasonable Doubt followed suit. When it was declared that Hyams would return to the directors chair and the action genre and re-team with Jean-Claude Van Damme for 2013's Enemies Closer, I was over the moon excited. Until I saw the film, which I just did not like.....at all, for a number of reasons. Gone was the visual stylist I adored for so many years through many, many films, and Van Damme just seemed both exhausted and far too over the top for my taste as the villain. It was a sad closing chapter for Hyams career as a strong director, but if End of Days can prove anything, it's that even as late as 1999, Peter Hyams proved that he was the best and delivers the goods in the most unexpected ways. It might not be considered a highlight in his career, but it should be. If it's been a while since you've seen it, or if maybe you've never seen it period, give it a shot and keep an open mind. It might surprise you with how great it is.

How to see it:
Released on DVD in 2000 and Blu-Ray in 2008, they run fairly cheap. While I didn't watch it on Blu Ray myself, I can say that the DVD is a pretty solid source. But having finally revisited and loving it, a Blu-Ray upgrade is definitely in order for the near future.