Hero

A seemingly deliberate change of pace for Chuck, following the cartoonish heroics of his mid and late 80´s vehicles like Lone Wolf McQuade (1983) or Invasion USA (1985), this mostly by-the-numbers cop thriller is mostly notable for the apparent determination of its main star to play firmly against his own macho image, and deliver a lead performance more marked by vulnerability and sentiment than acrobatic spin-kicks (although those still make an appearance), along with the visible conflict with the film´s generic formula this wish creates.

Perhaps aiming to follow his 80´s action counterparts Stallone and Schwarzenegger into lighter, more thoughtful roles as his career and body aged, Chuck here offers a portrayal of a stoically humble (whilst still Corvette-driving), soft-spoken and self-effacing LA detective, made famous for his apprehension of animalistic serial killer Simon Moon (the eponymous "Terror" of the film´s gaudy title) and dubbed "Hero" for his actions by an euphoric media, a handle he chafes at given his own near-death at the sizable mitts of Moon (a voiceless Jack O´Halloran). When Moon escapes captivity and new victims bearing his trademarks (snapped neck, partial undressing) begin cropping up in LA, this Hero must face his large lumbering demons and track down the seemingly motiveless juggernaut that is his nemesis the Terror.

Methodically paced, shot with a flat televisual look and peopled with regular 80´s TV character actors, the film has a noticeable Movie of the Week flavor, right down to the underplayed action sequences, low level of gore and jokey final shot, a feeling not even the gruff charm of Steve James (criminally underused) and the presence of Ron "Superfly" O´Neal as the city´s mayor can fully erase. Director Bill Tannen creates a strong sense of atmosphere, and stages Chuck´s domestic scenes (given surprising prominence in the narrative) with professional skill but his handling of linking scenes is flat-footed, and his rather detached approach to the loosely choreographed action dissipates whatever tension they might otherwise provide. Chuck looks visibly bored in the film´s few de rigueur fight sequences, and actually more engaged in the romantic scenes with his heavily-pregnant partner (Brynn Thayer), whose level of character development far exceeds any other in the film´s under-nourished screenplay.

Despite the picture´s modest ambitions, obvious low budget, sluggish plot, cliched dialogue and mostly underplayed performances, it still remains strangely watchable; the serial killer plot mostly goes nowhere but Chuck has an amiable charisma, and it´s enough of a surprise to see him play a self-doubting family man averse to the public spotlight his own heroism brings, that it almost draws you along through the film´s many flat sections. The unlikely casting of Billy Drago as Moon´s psychiatrist, the atmospheric setting of LA´s Wiltern Theatre (which becomes Moon´s hideout and stalking-ground), the presence of Steve James and Murphy Dunne (of the Blues Brothers band) in supporting roles and the much-sampled, pleasingly old-fashioned score by David Michael Frank provide helpful distraction from the clumsy script, and Tannen displays just enough visual aplomb to make it an acceptable late-night diversion, if nothing more.

Homicide detective Danny O'Brien (Norris) is known simply as "Hero" for having brought down L. A.'s most vicious serial killer: Simon Moon (Jack O'Halloran), a.k.a. "The Terror." But for years, O'Brien has secretly been haunted by the fact that his capture of Moon was a fluke. When The Terror escapes from jail and * to his old killing ways, O'Brien finally gets the chance to earn his glorified reputation if his monstrous enemy doesn't destroy him first!

Due to Chuck Norris getting good performance reviews for the superb Code of Silence, it was decided to make a film that demands him to act a little, and here he plays a tortured and sensitive character. He acts really well, and to be honest that's the main reason to watch this otherwise passable thriller which only picks up in the last thirty minutes. The first hour is mainly concentrated on the relationship between Chuck and his pregnant girlfriend. It's not a great Norris film, but passes the time adequately.

Hero and the Terror (1988)

** (out of 4)

Danny O'Brien (Chuck Norris) brings down a serial killer labeled by the media as The Terror (Jack O'Halloran), which gets his labeled as Hero. Three years after the event O'Brien is still suffering nightmares and struggling to put his life together but things get a lot worse when The Terror escapes from a mental hospital.

HERO AND THE TERROR is a Cannon film that tried to show their star Norris in a new light. The "added" stuff here includes seeing Norris struggle with coming to terms with the killer but there's a very large subplot dealing with his pregnant girlfriend and their upcoming child. The melodrama in the picture actually takes up the majority of the running time, which is too bad because there's a fairly interesting killer here to work with.

I never fault any actor trying to go out of the norm and do something different. It's funny that Cannon would have Norris doing some more than kicking butt in this film and especially when you consider that their other star Charles Bronson was trying something new this year too with MESSENGER OF DEATH. Both films have the stars offering up a new thing but it really doesn't work too well here. Norris actually gives a good performance and proves that he can handle the drama but all of this really waters down the story dealing with the serial killer and in the end, this is a Cannon movie after all.

The opening sequence actually manages to build up some nice suspense and there's some great one liners coming from Norris. The first forty five minutes or so are actually very entertaining but the film eventually runs out of gas and struggles to get to the conclusion. I think there are several long sequences that just didn't go anywhere including a search of a theater that drags on to the point where you're ready to take a nap. O'Halloran is effective in the role of the killer and it's too bad that there wasn't more of him.

HERO AND THE TERROR is a decent movie but not a complete winner.

This time Chuck Norris confronting an ominous psycho-killer . A sensible but two-fisted cop (Chuck Norris) and his tough helper (Steve James) pit a dangerous series killer who holds a supernatural force . The police named Danny O'Brien is back in action fighting the notorious psychotic Simon Moon (Jack O'Halloran) , also known as ¨The Terror¨ who murders his victims by twisting their necks . The monstrous and virtually indestructible man is a Frankestein-alike , acting similarly to Jason Vorhees and Michael Myers .

This Chuck Norris vehicle contains action-packed , thrills , chills and lots of blood and violence . Chuck Norris demonstrates his qualities as an action hero on the fights against the largest-than-life murderous by means of punches , kicks , bounds and leaps . This is last film that Menahem Golan , from Cannon film company , produced with Chuck Norris . Large support cast formed by usual secondaries of the 80s such as Steve James , Jeffrey Kramer , Billy Drago , Branscome Richmond and Ron O'Neal as the Mayor . David Michael Frank's screeching musical score was composed by means of synthesizer . The motion picture was regularly directed by William Tannen . This horror-fighting-thriller is an inferior Norris film , in spite of it he was on his best period with hits such as ¨The Octagon¨ , ¨An eye for an eye¨ , ¨Forced vengeance¨ , ¨Lone Wolf MacQuade¨ , and ¨Missing in action¨ , among others . Rating : Below average but entertaining . The picture will appeal to Chuck Norris fans though results to be one of his inferior outings .

Out of the ordinary for Norris? In a way it does feel like it, but still those sweaty and muscle-bound elements are still evident but in a lesser tone. Norris does kick some ass, but he plays a scarred, guilt-ridden and unsure character that doesn't see himself as some sort of hero (the media portrays) with the main focus being on the welfare of his girlfriend and their expected baby. Some might say that it's a sombre performance with little emotion, but it's a heartfelt turn that you feel every aching and haunting thought. Complementing that broad complexion is David Michael Frank's score, which is always there and holds a sorrow edge. The story builds upon its material with a humane angle, as Norris battles the demons (spares us some wry relationship humour) while the killer (the terror) is mainly a lumbering shadow that emits terror in the most basic and raw way. It's primal and old-fashion police-killer premise, but stays stimulating throughout. That's not discarding some repetitive and contrived inclusions, and how the killer does feel secondary to Norris. William Tannen's direction gradually forms suspense and moves quick enough (even with some useless spots). The action isn't eye-opening, but it's a sturdy display with moments of atmospheric lashings and the setting in a renovated movie theatre is a nice touch. The violence is quick, with the killer providing a sure cure for neck problems. An above-par cast do a sound job. Brynn Thayer excels as Norris' girlfriend. Jack O'Halloran's animalistic, brute physique is his performance and Steve James is enjoyable too. Rounding the cast off; Ryan O'Neil, Jeffrey Kramer, Murphy Dunne and a short, but important see-in for Billy Drago (this guy has presence) who explains the creepy and unsettling nature of the wanted killer.