1.85, PS 1.33
Tyler knows his way around guns, explosives, weapons of
imaginative design. Tyler is a movie special effects expert who
gets a charge out of his work. The artful use of squibs
exploding blood from a bullet wound or the artful cleaning of an
aquarium tank are pleasures of Rollie's world. Rollie can make a
babe in a clinging white dress explode in a blood of bath. His
command of make-up can make someone disappear in a crowd or
morph into a homeless person. But Rollie's guns fire blanks in
the movies and the guys he's working with now are playing with
the real thing.
plies the art of mask-making. ©MGM
F/X is a terrific concept for a film.
Special effects specialist Tyler has all the goods to make a fine hero. Robert
Mandel's direction and the script by Robert T. Megginson and
Gregory Fleeman are bursting with energy. The timing is precise
and little action is wasted. Thoroughly entertaining are
As Rollie is swept into a pit of vipers,
not everything is totally believable, but the plot moves at a
rapid pace leaving little time to contemplate the questionable
calls that Rollie makes or the fact that he starts out as a
shivering mass of frightened jelly in the rain and ends up an
ice cool assassin of the night. Right, and man, can
this guy drive a huge van like a sports car. In another life he
must have been a stunt driver or at the very least an Indy 500
power driver. But the chase is fun and is executed with style,
using a truckload full of F/X tricks.
gets the chance of an actor's lifetime playing Rollie. Brown,
athletic and everyman, wears the hero skin like a snake charmed
out of a basket of movie tricks. Brian Dennehy is an outstanding
choice as well in the role of police detective Leo McCarthy.
Though they share little screen time together, Mandel makes the
wait for their initial meeting well worthwhile.
transfer is clean and pretty sharp. Some of the grain appears
too static, almost appearing as a mask of fine dirt over the
film. Colors are good and skin tones match well with Rollie's
make-up chores. There are no noticeable edge enhancement
problems and straight lines are kept stable. Overall, the
transfer lacks some snap that may have been achieved with a
greater contrast range, though shadow detail is fine. Separation
on this Dolby Digital 2.0 matrixed mix is quite good. Action
explosions pack enough punch and the music spreads well across
the theater front.
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