Top Ten Action Films of 2016

Now that I've laid out my list for my favorite and least favorite movies of 2016, it's time to get specific and narrow down the top ten action films of the year, my favorite sub-genre and task of them all. I take action cinema very seriously, and religiously follow it. Therefore, I try and see every pure action film and blockbuster that I can each year.

It's painfully obvious, right off the bat, that 2016 had the worst selection of blockbuster films maybe ever. Almost every single major sequel, prequel, or reboot fell on its face. However, simpler more grounded action films were more of a mixed bag. While few of them were out right terrible, many of them fell towards the middle. Some were out right fantastic, but it's clear that without a film on the level of Mad Max: Fury Road, which felt like ten movies worth of greatness, 2016 seemed like a pretty weak year overall for action. It wasn't a horrendous year, or a great one, but very much so in the middle, more so than ever before I believe. I already wrote up my top ten most anticipated action films of next year, so here's hoping that 2017 delivers.

First off, I'd like to lay out the five unique/disappointing/oddities of action cinema in 2016. These weren't films that I hated, but they were definitely worse than they should have been, and could have been solid to great films if they were handled better given their talent in front and behind the screen. I wouldn't necessarily recommend these films, but if you're a genre fanatic like me, there is something to take away from all of them, even though they mostly made me pull my hair out. After that, you'll find my top ten of the year. Enjoy and comment!

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Top Five Disappointing/Unique/Oddities of the Year

5) End of a Gun (dir. Keoni Waxman) - Out of Seagal's whopping seven movies released this past year, the only one I saw was End of a Gun. The main reason that I saw it, over any of the others, was that it was actually playing in theaters, which sort of baffled me. To see the Sensei back on the big screen would be quite a treat, even if the movie sucked. And while End of a Gun certainly sucked, it ultimately served as a reminder that Seagal is too comfortable with director Keoni Waxman, a guy whom has made eight or so films with Seagal now. End of a Gun is not god awful or horrendous, but it's painfully bland and inept, proving that Seagal will forever be stuck at this stage with no chance of improvement unless he separates from Waxman every once in awhile. Check out my review here.

4) London Has Fallen (dir. Babak Najafi) - This sequel to the cruel but entertaining Olympus Has Fallen is even crueler if you can believe so. Whereas the first was a contained Die Hard rip-off, the sequel more so spans an entire city, and believe it or not also operates as a rip-off, but to Die Hard With a Vengeance of all films. While the first is far from great, and incredibly disturbing and mean spirited in parts, it was at least gleefully violent and trashy, dangerously dancing on the line between hard edged studio actioner and nearly mainstream exploitation genre affair. The sequel however is even crueler, laying waste to innocents left and right, almost without a care for what is being depicted upon the screen. The action fanatic in me loves the ever repeating premise, wish fulfillment lead, and hard edged action, but the moralistic side of me also sees these movies as dangerous and damaging in terms of how they depict U.S. foreign policy and xenophobia. I don't expect the third to get any better, but the "Fallen" series is definitely a guilty pleasure if there ever was one. Check out my review here.

3) Criminal (dir. Ariel Vromen) - Out of all of Millenium Pictures' big theatrical releases this year, Criminal was the one that had the best shot at being something unique within its mostly redundant genre. Unfortunately, who would have guessed that it would be the most boring, offering up hardly any action scenes, and featuring an overly complicated premise that fails to make any logical sense. I admire and appreciate Vromen's goal to turn a cruel sadistic murderer into a kind and moralistic citizen, but he does so in all of the wrong ways. Much like London Has Fallen, Criminal is extremely disheartening, featuring scenes where Costner's lead beats and murders innocent people and those simply doing their jobs. Costner doesn't lay waste to legitimately bad people until the very final action sequence. On another note, Criminal is laugh out loud funny, and not in a good way. It's accidentally comedic left and right, with some of the most mind boggling scenes I saw all year. I giggle whenever I think about Costner driving a car while bobbing his head to techno music or Costner throwing an innocent old man out of his car in order to steal it. I cannot stress enough that Criminal needs to be seen to be believed. Check out my review here.

2) Jack Reacher: Never Go Back (dir. Edward Zwick) - 2012's Jack Reacher is an underrated masterpiece, a skillfully crafted and character driven action thriller that should be seen by all. Therefore, when word of a sequel came around, I got pumped, as I hoped for more old fashioned greatness. What I got instead was a bland and average representation of dull contemporary action lacking all of the grit and wit of the first film. Zwick is no Christopher McQuarrie, as he fails to understand the Reacher character, depict action in a visually comprehensive way, or direct a story that the audience cares about. I admire Never Go Back's simplicity, but I couldn't be paid to care about this story or the characters that inhabit it. If there was ever a movie made to go directly to TNT, it would be this one. Check out my review here.

1) Blood Father (dir. Jean Francois Richet) - The concept of a trashy Mel Gibson fronted B-movie with a strong focus on character sounded like a dream to me. Or at least that's what I thought when I read the synopsis and watched the first red band trailer. But alas, this one severely let me down. While there is some great action here and there, Blood Father is both a bore and a mean spirited downer. There's nary anything resembling a narrative through line, and Gibson's relationship with his daughter is both frustrating and unfairly resolved, simply out of the blue. I appreciate some of the Western imagery, Gibson's fierce performance, and the hard violence, but Blood Father is simply an average time waster and not the confident B-picture I thought it'd be. Other critics went ga-ga for this one, so you'll probably disagree with my opinion and review here.

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Top Ten Action Films of the Year

10) Hard Target 2 (dir. Roel Reine) - Reine's latest DTV sequel to a previously released theatrical venture was without a doubt the highest profiled DTV release of 2016. Hard Target 2 boasted not only the Hard Target name, but also an impressive cast. If there was ever anyone to headline a Hard Target 2, it would be Scott Adkins no doubt. And while the thematic sequel features inspired moments, a few memorable action beats here and there, and a excellent cast, it's razor thin plot and low budget hamper it from being the superior action fest it could have been. Reine and Adkins try their best with the limitations they were forced to work with, but the sequel simply can't amount to anything more than a middling martial arts fest. It's from a great action film, let alone a good one, but it features more pure action than you'll find in any other bigger budgeted theatrical release from this year. Check out my review here.

9) Kickboxer: Vengeance (dir. John Stockwell) - Speaking of lower budgeted martial arts films starring martial artists, the Kickboxer remake/reboot was one of the year's better action films. It's impressive cast and throw back to the simpler days of action star cinema sort of made it the Expendables venture of the year. Some glaring flaws hold it back from greatness, such as its bland color scheme, Van Damme's awful A.D.R., and some weak performances here and there. However, the film is otherwise an extremely well shot, choreographed, and edited action fest with numerous one on one fights between varying opponents of all shapes, sizes, and backgrounds. All in all, Vengeance is an affective nostalgia fueled tournament fighter. Don't expect greatness, but set your sights low, and you'll be surprised how sound the picture is. Check out my review here. 

8) The Magnificent Seven (dir. Antoine Fuqua) - I originally planned on putting the latest Captain America on here, sort of as a pity nominee, but than I remembered that The Magnificent Seven remake was a pretty solid action/western with the kind of grounded action that made it more of a pure action film than Civil War. Fuqua doesn't reinvent the western in any way here, but he does a great job bringing old fashioned western entertainment back to the big screen and to fairly rousing success. While lacking the attention to theme and character that continues to make the original a classic, the remake is more of a pure shoot 'em fest, with a slightly lesser, but still impressive, ensemble cast. Here's to hoping that Fuqua directs a sequel, as I would love a modern string of Magnificent Seven sequels along the lines of the original series. I had originally written a review for this one, but never finished it, so maybe somewhere in the future I'll marathon the entire franchise and give my detailed opinion on this one.

7) Hardcore Henry (dir. Illya Naishuller) - A lot of people seemed to have forgotten this one even came out in 2016, but I didn't. This Russian/American co-production is probably the most inane, gruesome, and non-sensical action film ever made. If there was ever a film made to personify the "eff you" mentality of frustrated millenials, this is the one. Although plot and narrative through line are of no concern, Hardcore Henry is a technical powerhouse, featuring some of the most impressive stunts and camera work I have ever seen. It's ultimately a wannabe video game film with only the shameless video game elements, but sometimes that's exactly what you want to see in a video game esque film and not boring exposition and plot sans the attractive video game elements. Somehow this exploitation grind house film made its way into major theaters, and I for one recognize that achievement. Check out my review here.

6) Jason Bourne (dir. Paul Greengrass) - A majority of the films on the top ten list this year are ones with glaring flaws but mostly positive elements that struck an emotional cord with me. However, no one film left me feeling as conflicted as Jason Bourne did, the fifth entry in its series and the long awaited return of Matt Damon and Paul Greengrass. Rarely have I ever seen a film start off so poorly and yet improve so drastically by its conclusion. It's mind boggling to me how this dull retread on a once highly influential series could feature such a weak story and continually frustrating cinematography. That being said, the film has its pros, which ranges from its incredible cast (i.e. Matt Damon, Alicia Vikander, Tommy Lee Jones, Riz Ahmed, Vincent Cassell), to some stellar action in its dynamite final act that is excellent enough to convince me that this film is not a total train wreck. I plan on revisiting this film and writing up a piece on it, because I have a lot to say about it simply being titled Jason Bourne and not something more traditional along the lines of "The Bourne Retribution" or something like that. All in all, it's still a big budgeted espionage blockbuster with gun fights and car chases sans CGI, so it's already better than all of the superhero epics combined, but it's another case of Jack Reacher: Never Go Back where it fails to understand the potential of its character and franchise to a disappointing degree.

5) Mechanic: Resurrection (dir. Dennis Gansel) - You may think that I'm crazy for placing the second Mechanic film over something like Jason Bourne, but few genre films were as tonally aware and confidently ridiculous as this one. This tongue-in-cheek sequel feels like a body count heavy actioner lifted right out of the 80s or 90s, although unfortunately with bad cinematography and horrendous computer graphics. However, tonal awareness is the name of the game with this one, and few action films were as consistently absurd and thoroughly entertaining from start to finish as Jason Statham's latest. It's so bad, and yet so cheesy I couldn't help but purchase it on Blu-Ray. A definite get drunk with your friends film if there ever was one, Mechanic: Resurrection is the guilty pleasure of the year. Check out my review here.

4) Eliminators (dir. James Nunn) - Scott Adkins' final DTV vehicle of the year was surprisingly one of the sleekest and most affective action pictures of the entire year. Nunn's latest continues to meet the high water mark of superior DTV action with its simplistic plot, varied set pieces, and surprising amount of genuine tension. Whereas Hard Target 2 tries its hardest but ultimately crumbles underneath its weak script and impossible budgetary limitations, Eliminators excels in every category, appearing visually confident in every shot. This is another one where people might question me as to how it could rank so high on my list when films like Captain America: Civil War didn't even crack the list. But believe me, grounded and personal fights between physically able bodied martial artists from filmmakers who understand the genre will always excite and impress me more than any faux computer generated showdown. Check out my review here.

3) Ip Man 3 (dir. Wilson Yip) - As much as I am able to enjoy the previous seven films on this list, I wouldn't say any of them are immune to criticism. However, these next three are some truly stellar works of action entertainment whose pros far out weigh their cons and help to serve as some of the year's finest filmic production. The very first 2016 film that I saw in 2016 was none other than Ip Man 3, the highly anticipated third entry in one of the greatest martial art sagas of all time. The first Ip Man is a martial arts masterpiece, one of the all time greatest action films. The second entry, while not nearly as intimate and personal, is still a hugely satisfying and entertaining display of martial arts, friendship, and nationalism, even if it does continue China's attack against opposing countries like England. The third entry scales down the story from the epic heights of the second entry for a more personal and emotional tale. It also features a showdown between Donnie Yen and Mike Tyson, which some what clashes with the realistic and intimate angle of the story, so I guess you could say that the third is a combination between the sentiments of the first and second film. Although nowhere near as dramatically compelling as the first or as visually jaw dropping as the second, the third entry is still a solid and fantastic martial arts drama that asserts Yen's dominance at the top of the martial arts chain of actors. Check out my review here.

2) The Nice Guys (dir. Shane Black) - Shane Black's return to adult action/comedy was probably my most anticipated cinematic event of 2016. If you're an action fan, Black needs no introduction, as he essentially laid the ground work for bad ass cinema with his contributions to such definitive classics as Lethal Weapon, Predator, and even Die Hard. He's one of those screenwriters whose voice was so strong that it only made sense that he eventually became a filmmaker with directorial efforts such as Kiss Kiss, Bang Bang and Iron Man 3. The Nice Guys sees Black continue his penchant for humorous buddy comedy and grisly violence in one of his lesser, but still compelling and entertaining, efforts. It gets a tad plot-y at times, but The Nice Guys is always a fun time thanks to Ryan Gosling's hilarious performance and Russell Crowe's bad ass girth. The few action scenes that exist within the film are also solid displays of R-rated action done right by the guy who essentially established the formula in the first place. Here's hoping that Black's next few projects, such as the Dwayne Johnson fronted Doc Savage, continue his dominance of humorous and confident action cinema.

1) SPL II: A Time for Consequences [a.k.a. Kill Zone 2] (dir. Cheang Pou-soi) - The last few years have given us several fantastic action films per year, but each year typically has one singular masterpiece that stands above the rest and excels upon repeat viewings. 2012 gave us the crisp and confidently character driven Jack Reacher, 2013 gave us the visceral character fest that was Drug War, 2014 gave us the epic and immensely violent The Raid 2, and 2015 gave us the end all be all of post-apocalyptic films Mad Max: Fury Road, arguably the pinnacle upon which all modern action will be continue to be graded upon. Thankfully, 2016 gave us another of these modern classics in the form of SPL II: A Time for Consequences, the thematic sequel to one of 2005's greatest action films, SPL. I watch a good amount of Asian and Hong Kong action films, and I can confidently state that SPL II is so great, that it honestly matches the creative highs delivered by such H.K. classics as A Better Tomorrow, The Killer, and even Hard Boiled, the exact three films upon which all other Asian action films are essentially compared too. SPL II continues its series tradition of exploring three separate yet connected men whose morals and motivations are varied, despicable, and respectable. And while far less ambiguous than the original, SPL II builds to a far more dramatic and epic conclusion that could easily be considered one of the all time greatest fights in cinema history. Watching Tony Jaa, Max Zhang, and Wu Jing go head to head in a three way fight at the end of the film makes for one of the greatest physical finales I have ever seen in all of martial arts cinema. It is truly 2016's crowning achievement, and one of the greatest action films that I have ever seen.

DTV Cinema - Hard Target 2 (2016)

Director: Roel Reine

Cast: Scott Adkins, Rhona Mitra, Robert Knepper, Temeura Morrison

Country: United States

Rating: R

Run Time: 104 min

British martial artist Scott Adkins is direct to video (DTV) and low budget action cinema's hardest working star. I feel redundant every time I write or say that statement, but it's true. In the last 16 years, Adkins has worked his way up from show stealing supporting player to show stopping lead in several of the best direct to video films ever released (i.e. Undisputed II and III, Ninja I and II, Universal Soldier: Day of Reckoning, etc). He has such a huge fandom behind him, that nearly every project of his gains traction simply because of his attachment. I, as well as many others, have gone on to declare him the spiritual successor to "The Muscles From Brussells" himself, Jean-Claude Van Damme. 

It's also simple to declare Adkins the new Van Damme not only because of his martial arts skills and dedication to the action genre, but also because he has appeared in several films alongside Van Damme before (i.e. The Shepherd: Border Patrol, Assassination Games, Universal Soldier: Day of Reckoning, Expendables 2). Therefore, when word got out that he was going to be starring in Hard Target 2, a thematic/DTV sequel to the John Woo/Van Damme 1993 classic, Hard Target, it made perfect sense. There is no doubt about it, not only is Hard Target 2 one of Adkin's biggest starring ventures yet, but also the biggest DTV event of the year.

The sequel comes from director Roel Reine, who is considered one of the best directors in the DTV market alongside fellow vets Isaac Florentine and John Hyams. Adkins has come full circle now, as he has worked with all three of these kings of DTV now. Anyways, Reine mostly specializes in DTV sequels to previously released theatrical efforts, such as 12 Rounds 2: Reloaded and The Man With the Iron Fists 2, as well as standalone ventures. While I have personally only seen two of his films before hand, the bland but admirable The Marine 2 and the hugely underrated Danny Trejo vehicle Dead in Tombstone, Reine is commendable for his ability to shoot dynamic tracking shots and to stretch as much as possible out of his tiny budgets and shootings schedules. Therefore, both he and Adkins seemed like a best fit for Hard Target 2. 

Adkins brings the pain as always with his signature kicks.

After all, if you are going to have the guts to make a DTV sequel to one of the greatest action films of all time and force its creators to work with the littlest amount of time and money as possible, you might as well get one of the best directors and stars of DTV action cinema. Although I was excited for the sequel, my hopes weren't exactly high, as I knew to be wary about a DTV film regardless. Unfortunately, Hard Target 2 never amounts to anything more than a middling but serviceable low budget action film that remains stagnantly mediocre from start to finish. Adkins is in prime form, Reine's ever impressive camera work is on display, and the undeniable hook of its 'Most Dangerous Game Plot' is there, but the limitations of the film's budget and its tonal issues prevent it from being the very good action film that it could have been. 

Adkins plays Wes Baylor "The Jailor", a professional fighter who is up for the championship. When he accidentally kills his opponent and best friend in the ring, he moves to Thailand to live a secluded life of regret. After participating in several underground fights, Wes is approached by Aldrich, a rich businessman who offers him money to participate in the fight of a life time. Unfortunately, Wes has no clue that he is stepping into a trap and becoming the bait for a group of elite hunters who hunt man for sport. With no way out except to fight for his life in the jungles of Thailand, Wes becomes a "hard target" and goes head to head against armed hunters in a martial arts infused action fest.

For a DTV sequel, Hard Target 2 does a great job crafting a plot that is somewhat similar but not a direct retread of the original's. In fact, it does a great job justifying its protagonist's abilities and imbues great empathy within their plight. Whereas Van Damme's character was a nomad who happened to be a bad ass in the original, Adkins' character is a professional fighter who can justify his fighting abilities in the sequel. Whereas Van Damme happened to become a target for a group of hunters whilst getting involved in a murder mystery, Adkins is conned and forced into a 'Running Man' type situation where he must fight for his life. Poor Adkins didn't do anything wrong, and yet he has to sink or swim right off the bat. When he wraps a bag of ruby's around his waist and runs off into the jungle without a weapon at his side, I instantly felt for him. These are great character and story telling decisions that immediately pull the viewer into the protagonist's plight and shake up a needless sequel into an already intriguing one. I also applaud Reine for setting the film within the jungles of Thailand, as it offers up a somewhat similar visual experience to the original film's swamps and woods amidst New Orleans.

Unfortunately, the sequel offers up far less in the form of narrative, as it only provides a basic hunt to hinge its action packed proceedings upon, and than quickly settles into a relaxed groove after a promising first act. Whereas the original was more of a murder mystery that transitioned into a balls to the wall hunt, the sequel is nothing more than a hunt. The problem with this simplicity is that there isn't enough narrative nor tension to fill the entire feature. The screenwriters try to make up for this lack of narrative by squeezing in a forced sub-plot about a brother and sister who live in the jungle and work alongside Adkins' character. However, it's in no way compelling, and instead a complete time waster. If you pay careful attention to the film while watching it, you'll notice that there is a surprising amount of screen time given to every character, including the miniscule hunters. With so little going on with Adkins' character from beat to beat, the film tries to ring as much material as possible out of its slim story and cast, only to come out painfully dry very quickly. There's only so much you can do with a 'Most Dangerous Game' plot when you boil it down to basics.

Knepper brings his wonderfully villainous chops as always.

Another shame about the sequel is that Reine doesn't understand how to convey the tone of a fun and ridiculous action movie, such as the original. While the first film was an absurdist tongue in cheek action fest in the vein of Commando, the sequel is fairly serious, and more representative of the bland contemporary DTV crowd. These signs abound, as seen through the sequel's minimal comedic relief, overly serious dialog, and dry direction. There's also some cruel and unnecessarily mean spirited parts that hamper the viewing experience, such as an attempted rape and a supporting character's rather depressing outcome. The cruel and depressing turn of events surrounding the seemingly innocent but doomed son of the father/son duo reminded me of the horrid events from Ringo Lam's In Hell regarding a similar innocent but doomed prisoner. I just love when a movie introduces a wimpy supporting character, traumatizes them with a life altering event, belittles them by having another character call them a coward, and than proceeds to show them blow into smithereens a few scenes later. Now that's what you call a picker upper. Damn you Reine and your cruel action movies.

All criticisms aside, the one thing that Hard Target 2 exceeds at best is its casting, as the three leads within the picture act as perfect replacements for the most notable characters from the original. Scott Adkins, who is already the spiritual successor to Van Damme, is the best bet as far as physically inclined action stars come. He does as fine a job as always, whether it be acting intense and heated to visibly performing many of his own stunts. 

In the villain role we have Robert Knepper, who makes for an excellent replacement to Lance Henricksen from the original. Knepper, who I have always enjoyed from his multi-season turn as Teddy Bagwell from the Prison Break television series, is cold, calculated, and business like in his performance. His take on the character matches Henricksen's mega-acting beat for beat, and makes him the best candidate for the part. There's even a nice easter egg towards the end where he pulls out a single shot pistol that is meant to connect him as Henricksen's brother, although apparently Universal shot the idea down. As to why they were concerned that was a bad idea, I will never understand, as it would have been awesome to connect both pictures, meaning that both Van Damme and Adkins would exist within the same cinematic universe. And finally, Temeura Morrison plays Knepper's loyal right hand man , filling in for Arnold Vosloo's shoes from the original. Morrison, who has always been a reliable actor, from Star Wars Episode II: Attack of the Clones, to Speed 2: Cruise Control, to even Reine's own The Marine 2, brings the intensity that makes his supporting player formidable and imposing. 

Don't get your hopes up for lots of Mitra.

Most notable of the miniscule supporting players is Doomsday's Rhona Mitra, who happens to billed on the film's DVD and poster even though she is barely in the film for some reason. There's a cool line where she mentions that she is the daughter of a hunter, and I'd like to believe that it connects her as well to Henricksen's hunter from the original. But alas, I guess I'll leave that for my Hard Target fan fiction. Overall, the rest of the hunters are quite forgetful, and feel more like meat from a slasher film who are somewhat defined but obviously disposable, as anyone watching the film knows that they are going to die by Adkins' hands.

Lastly, the action within the film is solid all around, although not very memorable, unique, or lengthy. For those who don't know, Hard Target 2 was shot in 20 days and for less than $5 million. That's extremely impressive when one takes into account the scope of the film and how impressive some of its shots and action sequences are. Therefore, one needs to handicap the film in order to fairly review it. It's a shame that the film wasn't allowed more time or money, because just as every shootout or fight gets going, it quickly ends and segways into the next story beat. For example, there's a great confrontation atop a train track where Adkins and Morrison aim guns at each other. When they finally come face to face, they fight one another while shooting their guns, backed by some affective score. Unfortunately, the fight lasts about twenty seconds, and Adkins immediately jumps off of the train tracks and into a river. Shortened moments like these pepper the entire film, which thereby prevents any sort of notable action sequence from ever realizing its full potential. But as I said, there's a handicap here, and Reine only had so much time to work with. 

Reine acts as his own director of photography as usual, and works in several technically impressive shots. There are a couple of his signature oners, such as a great dialog sequence where Knepper introduces all of the hunters to Adkins in one take, which goes on for several minutes. There's also a notable tracking shot toward the final action sequence where Adkins leaps off of a boat, punches a soldier, takes his gun, and than works his way up a beach as he takes out soldiers along the way. When the shot ended a few seconds later, I was saddened, as it had me on the edge of my seat. Even The Marine 2 featured longer tracking shots. But alas, 20 days only affords you so much time, and that we even got two impressive shots alone is enough to commend the film for. However, Hard Target 2 features the same bland lighting and unappealing grey colors that plagues most of Reine's DTV work. It's not nearly as drab as some of his previous efforts, as the jungles of Thailand at least appear tropical, but it's not nearly as colorful as it could/should have been. 

Boyka vs. Django Fett, need I say more?

When the sequel was originally announced, director John Woo was attached as an Executive Producer. Reine was even on the record stating that he loved Woo, the original, and wanted to pay tribute to the kind of films Woo used to make in the 90s. However, Woo's name has since mysteriously vanished from the project, as there was no official announcement as to why my favorite director of all time was suddenly detached from the sequel to one of his greatest films. While I highly doubt that Woo was ashamed to be attached, he must have become busy and simply could not work on the film. But alas, it's a shame that the Woo himself dropped out for whatever reasons. That being said, Woo fans will be able to spot several visual homages to the director and his films throughout, including slow motion shots of doves, a flying arrow smash cutting to the film's title, abundant Beretta handguns, and the single shot pistol used within both Hard Boiled and Hard Target.

For action and martial arts fans, Hard Target 2 was just about the DTV event of the year. Everyone knew it was never going to be anywhere near as great as the original, but fans of DTV cinema were going to turn out regardless, and hopefully legally. Overall, Reine's sequel to one of the greatest action films of the 90s is a fairly bland but technically proficient thematic sequel. It does a great job paying tribute to the original through both its visual homages and unique shake up to the formula. While the action is solid all around, it leaves much to be desired, as no set piece is ever very memorable or lengthy. Small bouts of action abound, but nothing really to write home about. However, even with the film's technical woes set aside, which are excusable, the true crime of the film is its meandering narrative and dreadful tone, which both fail to conjure up a fun sense of energy or worthwhile feature material. The characters and performances are all fine, but it's a shame that they don't have a better script to work with. All in all, Hard Target 2 is about exactly as I expected it to be, but I still wish that it could have been a few notches better than it turned out to be.

Rating: 5/10 - For a DTV sequel made in 20 days for only $5 million, Reine did a very good job when given the most impossible of limitations.