Arnold Schwarzenegger

  • Raw Deal (1986)

    Raw Deal (1986)

    ByChristian Sauvé Movie Review

    (On Cable TV, July 2020) If my records are accurate, Raw Deal is the last of Arnold Schwarzenegger’s 1980s movies that I hadn’t yet seen, and for a good reason: it’s easily one of the least distinctive films he’s made, with very little of what distinguished other films of Schwarzenegger’s heyday… and virtually nothing here that takes advantage of his persona. At times, the script reads like the kind of bland cop thriller that would be given to Steven Seagal or Chuck Norris. Here, Schwarzenegger plays a disgraced cop (for good reason: beating a child killer) who’s asked to infiltrate the Chicago mafia and avenge the murder of several FBI agents. It’s already a dull premise, and very little in the execution elevates the material to something worth Schwarzenegger’s presence. The actor himself isn’t bad—he plays to his strengths and director John Irvin is under orders to accommodate that—but the rest of the film is nothing worth cheering about: The dialogue is flat, the action sequences uninteresting, and the plot is right out of Genericland. The ending shows how sadistic 1980s movies could be, without anyone batting an eye at massive police brutality or even the dubious ethics of leaving one’s wife thinking you’ve been dead for weeks. No, Raw Deal isn’t worth seeing unless you’ve watched every single other one of Schwarzenegger’s 1980s films. And even then… you can wait.

  • Aftermath (2017)

    Aftermath (2017)

    ByChristian Sauvé Movie Review

    (In French, On TV, April 2020) I thought I knew all about Arnold Schwarzenegger’s filmography, but his post-political career has been far less visible than his glory years—he’s now working in low-to-medium-budget films, not quite successfully adapting to post-action-star status and often springing for cameos rather than starring roles. Unlike other actors of his generation, he hasn’t been able to completely transition into supporting roles in films where others are the action stars. Aftermath, which frankly slipped under my radar, is a near-perfect example of these new expectations. It’s a fairly dull thriller, made slightly more respectable in how it’s (loosely) based on a true story. Here, Schwarzenegger plays a grieving family man who decides to take revenge on the man who organized the plane bombing that killed his wife and daughter. The rest of the film is a revenge story, but not a triumphant one—director Elliott Lester handles the downbeat drama script appropriately, which is to say in antiheroic cinematography, slow pacing, bad character decisions and melancholic atmosphere. What doesn’t help this dispiriting premise is the film’s slow, linear and surprise-less execution, even late in the film when there’s something meant to be shocking. Aftermath is a far, far different cinematic animal than the action films that made Schwarzenegger an improbable household name. To his credit, he does deliver a fair performance as a dramatic actor (and one has to appreciate how he’s not being pushed in becoming an implausible action hero) but it raises two questions—is Aftermath a kind of film suited to someone like Schwarzenegger, and two; is this Schwarzenegger’s best use of his time?

  • Red Heat (1988)

    Red Heat (1988)

    ByChristian Sauvé Movie Review

    (On TV, February 2020) On paper, Red Heat feels inevitable. Arnold Schwarzenegger was near the top of his early fame in 1988, and the idea of making good use of his accent naturally led to him playing a tough cop from behind the then-Iron Curtain. From that point on, you can almost write the rest of the film yourself, so closely does it branch out from that premise and sticks to the buddy-cop plot template. Of course, his American counterpart will be an opposite of Schwarzenegger’s polished image as a Soviet supercop—slobby, loutish, loose with the rules in ways that only Jim Belushi (also near the top of his unexplainable fame at the time) could play. Alas, inconsistent writer-director Walter Hill doesn’t quite know how to maximize the elements at his disposal: the script is a hodgepodge of predictable sequences strung together in haphazard fashion, with some curious lulls to prop up a surprisingly dull plot. Only the ending, making good use of buses for some glass-smashing action, floats above the morass that Hill serves here. There are a few good things here: Schwarzenegger is picture-perfect as a tough policeman, his character has aged fairly well as a (rare) heroic Soviet character in Hollywood movies, and Gina Gershon looks great in an ungrateful role. It’s also cool to see some footage shot in Moscow, including a saluting Schwarzenegger. Alas, Jim Belushi remains obnoxious throughout—his character being only slightly less obnoxious as the very similar one he’d play the following year in K-9. The action is often dull, the plot never sparks and the cinematography has that telltale 1980s softness. In the end, Red Heat is far more interesting as an example of the Schwarzenegger and/or buddy-cop movies of the 1980s than on its own merits.

  • The Running Man (1987)

    The Running Man (1987)

    ByChristian Sauvé Movie Review

    (In French, On TV, March 2019) As a former but unrepentant Science Fiction critic, I know better than anyone else that we’re not supposed to grade SF films of past decades on a prescience scorecard where more points are accumulated for accurate predictions. This goes double for dystopias, as we’re perhaps more sensitive to the bad things than the good ones. Still, it’s really hard to resist the impulse when it comes to The Running Man, considering the richness of its vision. Adapted very loosely from the Richard Bachman/Stephen King novel (notably softening the ending but frankly just taking the name of the characters and the rough premise), it ends up being an over-the-top Arnold Schwarzenegger film set in the near future. (To underscore the difference from contemporary films, Schwarzenegger sports a rather cool goatee and otherwise delivers a film that fits well in his classic streak of action films.)  The bare bones of the plot have to do with a totalitarian USA using a TV Show to kill its dissidents, but the execution (once past the setup) is repetitive, with the protagonist dispatching one opponent after another using one-liners, steadily making his way back to the TV show host. The action is bloody and choppy, reinforced by cinematography that’s pitch-dark to the point of exasperation. A few wrestlers—and future co-Governor Jesse Ventura!—make up the opponents, with the romantic interest played by the beautiful but underused Maria Conchita Alonso. (The producers make sure they get their money’s worth by having her character exercise in lingerie.)  The film is limited by 1980s technology in its presentation (such as the early cheap-looking CGI opening credits) but does prove disturbingly prescient in its satirical dystopia, anticipating the 2001–2019 slide of America into cheerful authoritarianism, airport checkpoints, entertainment/capitalism synergy … and reality TV. Also notable without being so flashy is solid-state video. So, while there’s no real point in grading The Running Man for accurate predictions, it’s the kind of additional material that does help the film distinguish itself from many far more generic action films of the 1980s. It has some kind of verve in spitting out groan-worthy one-liners and work its way up to a big spectacle of a conclusion. Not necessarily my go-to-choice for films of the era, but somewhat better than I expected.

  • Red Sonja (1985)

    Red Sonja (1985)

    ByChristian Sauvé Movie Review

    (In French, On Cable TV, January 2019) There was a fantasy film boom in the early-to-mid-1980s, and not all of them were created equal. While Arnold Schwarzenegger’s performance as Conan in the two eponymous movies left a mark, it’s not possible to say the same about his turn in spin-off Red Sonja, or the entire movie itself. A fairly standard heroic fantasy adventure, this is a film that still earns attention today based on two things: its place on Schwarzenegger’s filmography, obviously, but also Brigitte Nielsen as the titular red-headed warrior. But looking fine and acting well are not the same thing, and Schwarzenegger in a rare supporting role only highlights how badly he did when the spotlight was away. It doesn’t help that the script is terrible, with a dull plot, terrible dialogue and sexual politics more outdated than its prehistoric setting—rape is used as a plot device, lesbianism is incarnated by the evil witch and the title character doesn’t have much agency in a movie that’s supposed to revolve around her. The result is an all-around embarrassment devoid of most of the thin guilty pleasures of its other two related movie. And yet, I can’t help thinking that in the proper hands (specifically, a female creative team), Red Sonja would be a movie ripe for a remake.

  • Eraser (1996)

    Eraser (1996)

    ByChristian Sauvé Movie Review

    (Second Viewing, In French, On TV, December 2018) I recall seeing Eraser in theatres, and not being all that happy about it. (The idea of a portable railgun firing “near the speed of light” with no recoil seemed hilarious to me, but laughing alone in the theatre isn’t one of my fondest memories. But then again I placed a lot more emphasis on scientific rigour back then.) In retrospect, though, Eraser had aged decently enough—it does feature Arnold Schwarzenegger near the prime of his career, after all, and the kind of big dumb action movies made in the mid-1990s have grown scarcer in recent years, accounting for a bit of nostalgia. I mean; in how many 2018 releases do we have a parachuting hero bringing down an airplane rushing toward him with nothing more than a handgun? Some rough-looking CGI (alligators and human skeletons!) add to the charm. At the time of the film’s release, much of the release chatter had to do with how the audio and CGI team had to work around the clock right before release to change all mentions of the villainous “Cirex” to “Cyrez” after computer chip company Cirix complained. In terms of star vehicle, Eraser is pretty much what Schwarzenegger could handle at the time—and having a featured role for Vanessa Williams is more interesting when you realize that the film never goes the obvious route of creating a romantic subplot between both of them. James Caan also has a good turn as a mentor-turned-villain. The political machinations justifying the plot are better than average for an action movie, and the coda seem closer to a political thriller than an action film. Eraser is still not a good movie (and it pales a bit compared to other late-1990s actioners), but it has aged into a decent-enough one.

  • Hercules in New York (1970)

    Hercules in New York (1970)

    ByChristian Sauvé Movie Review

    (In French, On Cable TV, September 2018) Putting the documentary Pumping Iron aside, Hercules in New York is notable for being Arnold Schwarzenegger’s big-screen debut (as “Arnold Strong”). It would take a long time until he struck big with 1982’s Conan the Barbarian, but we can already see Schwarzenegger’s charisma outshining, well, nearly everything else about the film. Conceived as a cheap comedy, Hercules in New York has the hallmark of a modestly budgeted film not trying too hard to tell a coherent story. It has something to do with a Greek titan experiencing New York City, which really means another fish-out-of-water comedy with an unusually strong character. The plot is dumb, the characters are idiots, the production credentials are cheap, the love interest thing gets dropped unceremoniously well before the end, and the jokes are not refined … but there is Schwarzenegger shining through in coarse fashion. The film’s other highlight is a chariot race through Manhattan and Times Square (snapshots of which have been endlessly reprinted in just about every single illustrated biography of the actor), but no matter: The only reason to watch the film today is as an early showcase for Schwarzenegger. He’s far more memorable in Pumping Iron, but at least you get an idea of how they’d shape his persona later on for his extraordinary string of roles in the 1980s.

  • Pumping Iron (1977)

    Pumping Iron (1977)

    ByChristian Sauvé Movie Review

    (Netflix Streaming, July 2017) Most documentaries come and go, sinking to the depths of popular consciousness as their topic becomes of less currency, as events overtake what it presents, as everyone moves on and often retreat in obscurity. But once in a while, lightning strikes. In Pumping Iron’s case, a look at the bodybuilding culture of the mid-seventies had the incredible luck of capturing a showdown between future-megastar Arnold Schwarzenegger, and future Incredible Hulk Lou Ferrigno. The first half of Pumping Iron introduces its subject through beige gyms and outdated clothing styles, first focusing on the rivalry between Mike Katz and Ken Waller. Documentarian George Butler is working in the prehistory of modern nonfiction movies, but his approach is very much up to the latest reality-TV standard—focusing on drama, introducing his subjects in interviews while showing them interact. After a first half that feels like an introduction, Pumping Iron goes overseas to film the 1975 Mr. Olympia contest in Peoria (South Africa), and in looking at the personalities of Ferrigno and Schwarzenegger. It helps that even at that time, Schwarzenegger is a magnetic presence: flirting, charming, but also capable of playing pranks and demolishing an opponent’s morale. Schwarzenegger, portrayed as a charming villain, overtly discusses how bodybuilding is as mental as it is physical, and how he is willing to use underhanded means in the name of competition. If Pumping Iron remains interesting today, it’s not solely because of its good overview of the then-marginal bodybuilding subculture. It’s not simply because it presents a decent pair of rivalries between bodybuilders. It’s squarely because Schwarzenegger faces off with Ferrigno, and Schwarzenegger wins. But that’s fair—George Butler got lucky, and the only thing to do when you get lucky is to enjoy it.

  • Conan the Destroyer (1984)

    Conan the Destroyer (1984)

    ByChristian Sauvé Movie Review

    (On TV, April 2017) While a let-down from the original barbarian epic, Conan the Destroyer does have a few things going for it. It embraces a more team-oriented plot than the first film, bringing a bit of diversity to the adventure while decently presenting a kind of quest fantasy Dungeons-and-Dragons dynamic on-screen. Arnold Schwarzenegger remains the anchor of the cast, but nearly everyone gets a good moment to play or two—Wilt Chamberlain and Andre the Giant show up, Olivia D’Abo is cute as the nominal love interest, but Grace Jones is a special effect of her own even if her acting talents are, well, not up to even Arnold’s standards. Much of the plot is a loose succession of adventures, reinforcing the impression of seeing a quest story on-screen. Lighter on the violence, heavier on humour, Conan the Destroyer may be a bit more accessible even if it loses much of what had made such an impression during the first film. Still, much as the first film remains noteworthy for being an almost-definitive adaptation of barbarian fantasy on-screen, this sequel gets a lot of things right in portraying classical group quest fantasy as well. It doesn’t quite have as much wit as it should, but that’s how sequels go.

  • Conan the Barbarian (1982)

    Conan the Barbarian (1982)

    ByChristian Sauvé Movie Review

    (On Cable TV, April 2017) Conan the Barbarian isn’t a great movie, but it does manages to achieve almost everything it aims for and still stands as one of the best movie adaptation of the classic barbarian fantasy subgenre. Arnold Schwarzenegger brings his considerable charisma to the title role—looking like he came from a Frazetta painting could have been enough, but he happens to be immensely compelling even with his limitations as an actor at the time. The film does take a while to get going: aside from the interminable prologues, it takes time until the band of adventurers is assembled and for the film to find its groove. After that, well, it’s straight-up fantasy escapism. While juvenile, there’s a certain honesty to the way the story strips itself down to id-driven violence and ravishing. My interest in barbarian fantasy being limited, I could only appreciate the success of the execution (and there has been quite a bit worse in that sub-genre) without being particularly moved. So it goes—I’m just glad, on some level, that the ultimate barbarian fantasy movie exists … and that it still stands as the definitive one thirty-five years later. (No, the remake doesn’t count.)

  • Twins (1988)

    Twins (1988)

    ByChristian Sauvé Movie Review

    (On TV, April 2017) I managed to avoid most of the Arnold Schwarzenegger early comedies the first time around, but now that I’m checking off the last few titles in his filmography, I can’t say that I feel as if I truly missed something. After being underwhelmed by a first viewing of Kindergarten Cop and a second look at Last Action Hero, here is Twins to underwhelm me once more. The basic premise is actually amusing: What if Schwarzenegger played an impossibly perfect guy who suddenly discovers that he’s got a fraternal twin brother played by… Danny Devito. The two offer a striking visual contrast, and their respective styles of comedy are also an interesting match. Unfortunately, once you get past the poster, Twins doesn’t have much more to offer. There’s a bog-standard plot to move things along, but nothing truly interesting other than a clothesline on which to hang the expected comic bits. Some of the humour isn’t tonally consistent—the climactic chain gag seems to belong in another film. It doesn’t help, I suppose, that by 2017 (or, heck, by 1994’s True Lies, four comedies later) we know how Schwarzenegger can actually play comedy—the shock value of seeing an action star mugging for laughs is considerably diminished. I’m not saying that there’s nothing to see here: There’s a funny moment in which Schwarzenegger measures himself against a Stallone poster, Kelly Preston is very likable as half the love interests and DeVito does manage to get a few laughs of his own. But the movie itself is a bit dull and unfocused. Twins still holds interest through its high-concept premise, but the execution isn’t quite up to its own requirements.

  • Kindergarten Cop (1990)

    Kindergarten Cop (1990)

    ByChristian Sauvé Movie Review

    (On Cable TV, November 2016) I had managed to miss this film from the classic Arnold Schwarzenegger period, but after finally watching Kindergarten Cop I’m not sure it was much of a loss. As a hybrid between family-friendly comedy and action thriller, it falls uneasily between two chairs: It doesn’t tone town its PG-13 action sequences (meaning that you’ll see people getting shot, even if with only a modest amount of blood), and yet spends a lot of time on the comedic section of its story, with plenty of easy gags about a bulky policeman confronting a group of small children. It doesn’t help that much of the film feels unpleasant, focusing on child endangerment, making so-called jokes about divorce and abandonment, using a script that takes plot contrivances to an entirely new level within a predictable structure. What saves the movie are largely the performances, with Schwarzenegger in fine form as he goes from action to comedy. (He even sports a stylish bead in the film’s first sequence.) In retrospect, it looks as if Kindergarten Cop was a prototype for an entire sub-genre of movies featuring action heroes in kid-friendly movies. The Pacifier, The Spy next Door, The Tooth Fairy … all stem from the same core idea of expanding an action persona to a wider audience. None have worked perfectly yet, largely for the same reasons why Kindergarten Cop feels incoherent most of the time: It’s not easy to pander both to the demands of the action fans and the family-entertainment crowd at once—the slightest hint of violence makes the film unsuitable for younger viewers even despite the promises of the premise.

  • Commando (1985)

    Commando (1985)

    ByChristian Sauvé Movie Review

    (On TV, September 2016) I had managed to avoid seeing Commando until now, and it strikes me that this is exactly the kind of movie they’re talking about when they’re talking about generic 1980s action movies. This is the archetypical one: eighties atmosphere, straightforward plot, ho-hum action sequences, a pre-prime Arnold Schwarzenegger (physically impressive, hugely charismatic but not yet comfortable as an actor or taking full advantage of his persona) and Regan-era politics—or whatever passes for them. This, I’ll hasten to clarify, doesn’t make Commando any good. In fact, it’s terrible in many ways: from the get-go, in which a father-daughter-bonding sequence seems to skirt self-parody, this is a film directed without grace or deeper ambition: It simply moves from one generic action sequence to the next without smoothing over the inanity of its plot points. Schwarzenegger’s acting is not good, the lovely Rae Dawn Chong is asked to deliver some rotten lines, Vernon Wells does the best he can in a ridiculous character … and so on. Clunky, naïve and unpolished, it’s a wonder why Commando has endured even today. But, of course, it has Schwarzenegger, a clever succession of chases and explosions, and just enough substance to matter even as other similar movies have disappeared in time. The pacing moves at a breakneck speed, to the point where it’s hard to begrudge anything to a film that wraps up neatly within 90 minutes. Commando is a template more than a film, but—wow—was it ever imitated afterwards. Consider it a lesson in whether it’s better to do something good or memorable.

  • Maggie (2015)

    Maggie (2015)

    ByChristian Sauvé Movie Review

    (On Cable TV, May 2016) As much as I’d like to claim that the zombie subgenre is played-out and should go away, there are always new off-beat ways to approach the same topic. In Maggie, the emphasis is placed on a very low-key family drama set in a post-apocalyptic world, in which a father faces the gradual transformation of his daughter after she’s been infected. It obviously won’t end well, which puts even more importance on the moment-to-moment character journey of the story. Maggie isn’t your usual action-driven horror movie: it’s an extended mourning period, with occasional flashes of danger considering what she is evolving into. The big draw of the film, from a mainstream perspective, is that the role of the father facing the gradual end of his daughter has been given to Arnold Schwarzenegger, here playing a solid man made powerless against what is happening to his child. He does well despite being asked to venture outside his usual persona, but if this is the kind of role that actors cherish, it’s not likely to be considered a must see. Maggie is a quiet, mournful, low-intensity drama and it works at what it does. On the other hand, stretching even a requiem to feature-film length will test the patience of a number of viewers, despite the odd glimpses at a world where zombies have been normalized. Maggie is an average movie, which means that it will work best for those who are already predisposed to the story it means to tell—people outside that group may not find it as compelling.

  • Terminator Genisys (2015)

    Terminator Genisys (2015)

    ByChristian Sauvé Movie Review

    (Netflix Streaming, March 2016) Where to begin? Terminator Genisys is a big mess of a movie. Not that I care all that much: After all, I’m on record as saying that the first two movies of the Terminator series are bona fide classics, and that the third and fourth ones are nothing more than ascended fan fiction. This fifth instalment has the saving grace of being more ambitious than it could have been, but at this point the Terminator mythos has been trampled so thoroughly that we’re well into the degenerate phase of the franchise: everything gets remixed endlessly and the result is best appreciated as postmodern mush for the fans. Enough is enough: let the whole thing go! But that will never happen and given this certitude, the only thing left to do is to appreciate the good bits and moan about the bad ones. What works is Schwarzenegger being cast age-appropriately and the various contortions the plot has to go through in order to make it happen. The re-creation of the 1984 original is interesting, and so is the craziness of seeing so many temporal loops crashing into each other. On the other hand… Emilia Clarke and Jai Courteney are terrible lifeless choices for the iconic roles they’re meant to reprise. Jason Clarke does better—but while I like the manic episode he gets to play, it severely undermines that character he’s supposed to be. The dumbness of the film can’t be overstated, and its self-conscious status as the first in a new trilogy means that it can’t be relied upon to answer some basic plot questions, leaving them to a sequel that looks as if it will never exist as of this writing given Genisys’s tepid commercial success. (Forget Terminator 6: I want a movie about how the Terminator franchise is being sabotaged by time-travellers who fear that the next film will succeed and bring untold devastation to the world.) At charitable times, I’d call Genisys “interesting”—but at others, I’d call it overstuffed, under-thought, meandering and frustrating. The ruthless simplicity of the first film’s ongoing nightmare has been replaced by a tangled web of fan-service, while the themes and pulse-pounding action of the sequel have been muddled in generic action sequences and puddle-deep snark about modern technology. I would at the very least expect any new Terminator to have something to say about our relationship to machines. Otherwise, well, we’re back to ascended fan fiction.