Malone

There are some films that miss whatever target they are aiming for yet somehow are just great fun to watch. Malone, a fairly obvious updating of Shane, reaches deeply in to the duffers bag of clichés to pull out; the burnt out assassin, the beautiful former colleague, cute teenage girl and her brave but crippled father and, of course, a nutter who along with his evil henchmen are bent on taking over the government. Starting with the most inept of the baddie's henchmen Malone is gradually drawn in to the fight until he achieves his final pyrrhic victory and moves on. Burt Reynolds is actually not a bad actor when he's not trying to be 'a good old boy' all the time. Cliff Roberstson goes jarringly over the top. Laurren Hutton is beautiful, brave and loyal. Cynthia Gib is cute as apple pie in a see-through nightie and the much miss-used Scott Wilson does exactly what he needs to do. So why is this not a good movie? Dunno. There is nothing obviously wrong with the film. It doesn't look cheap, everyone hits their marks and speaks the lines. The end is a bit over the top and perhaps people were reluctant to let Burt Reynolds be serious. Never mind, I've added it to my list of films to be watch every time they turn up in the schedule and I guess I'll just continue to enjoy it for what it is, a good bad movie.

Malone (Burt Reynolds) is a former CIA man who wanders into a town in rural Oregon on pure chance and becomes embroiled in a conflict with a group of far right extremists terrorizing the residents.

Malone was one of a number of Reynolds movies released in the 80s, and like many others was subject to critical derision and financial disappointment. In Malone's case it was unfavorably compared to classic western Shane, and while the comparison isn't unwarranted, Malone is still a well made contemporary action thriller with a traditional western framework.

Reynolds as the titular Malone is actually pretty good in the movie, and it's nice to see Reynolds play against his established persona that had colored his career from Smokey and the Bandit onward. While he still maintains his dry laconic delivery in some humorous instances in the movie, the movie also allows Reynolds to convey a level of simmering intensity hidden behind a stone faced facade of quiet resignation that makes Malone a bit meatier than your average 80s action shoot 'em up. The villains are adequately dispicable and hateful, with Cliff Robertson being a memorably grotesque Delaney and Alex Diakun giving superbly slimey performance as Delaney's sadistic henchman Madrid. The only drawback to Malone really is that the comparisons to Shane are indeed as accurate today as they were then, but is that necessarily a bad thing?

Malone is a perfectly serviceable action film. Burt Reynolds gives a commander performance in what's essentially a classic western dressed up in contemporary clothes. It doesn't have much lasting impact, but it's a perfectly suitable time killer.

Burt Reynold's might go low-key and solemn for his performance in "Malone", but when it came to delivering the action… it's a full-on assault. Slow-motion and shotgun = win-win. And that sequence is beautifully staged… for action fans. "Malone" is a moodily straight- face, if ridiculously plotted late 80s action fodder. Something very different to what Reynolds was participating in within this 80s period. Fans of "Sharky's Machine" might just dig it, because of the violence and a non-mugging Reynolds.

Still what stood out to me just how closely it followed Clint Eastwood's formula in the 1985 western "Pale Rider", especially the connection the between the young impressionable girl (the delightful Cynthia Gibb) and the ex-CIA hit-man drifter who unwillingly gets caught up a small town drama. That was a western, but here it takes a modern-day approach but the western vibe of a mysterious stranger coming into town lingers heavily. Someone escaping their past, trying to get by to only find themselves bringing unwanted attention. The script is rather slapdash and some story arches are questionable (main character's ability to heal), contrived and incredibly silly. Like that of Hutton's assassin, in what feels like nothing more than to push the plot along and add motivation.

Malone was a CIA hit-man who suddenly calls it quits despite the disapproval of his bosses. This leads him to hitting the road to escape his past, but he finds himself stranded in a small town when his car breaks down. For the time being he stays with the mechanic and his daughter until its repaired, but its not a peaceful stay as he comes to blows with a pitiless land developer with very ambitious political interest in seeing America weed out its traitors.

For most part "Malone" is predictable, stoic and casually paced with quick bursts of brutal, heated violence. However this all changes when it becomes personal for Reynold's hit-man, as the crackerjack climatic showdown feels like something out of a comic book James Bond outing. Nonetheless some scenes do pack a punch and the striking sequence of Reynold's coming out of the shadows to confront Cliff Robertson's callously patriotic bad-guy is a marvellous touch. You gotta love his paranoid ramblings and the extreme lengths he goes to. Robertson nails down the puppeteer character with great intent, despite a certain hammy glee to his grandeur viper illustration. There's some good support from the likes of Scott Wilson, Lauren Hutton, Kenneth McMillan, Alex Diakun, Phillip Anglim, Dennis Burkley and character actor Tracy Walter who has a very memorable encounter with the title character.

Director Harley Cokeliss' plain direction is sturdy without showing much style, despite his use of slow-motion and capturing shots of an attractive valley backdrop.

Going back to serious roots, Reynold's "Malone" is sober, tough and mindless action.

"Are you so important?"

This was a breath of fresh air compared to the silly movies that he made from about 1980 to 1990. There were no silly comments just lots of action. VanDamme or Segal could not have done better. The local filming was beautiful and the acting by the supporting cast was first-rate and not overdone. Burt might be too old for this type of movie now but this is the stuff that he should have done when he was in his prime. I am glad I saw it as I gained new respect for his acting.

In Malone, Burt Reynolds is a CIA paid assassin who's tired of the life and wants out of the company. Of course the company doesn't see it his way and his former protégé Lauren Hutton is sent to terminate his contract with the agency.

But Reynolds in looking for obscurity finds a place where a mysterious millionaire Cliff Robertson is buying all the land in some obscure valley in Idaho to make it his headquarters for some ill defined right wing conspiracy. Robertson's bought the sheriff, Kenneth McMillan and several local louts to enforce his will on the community. Reynolds's car broke down here by sheer chance and he's taken in by garage owner Scott Wilson and his daughter Cynthia Gibb. When Robertson's thugs start leaning on them, Reynolds springs into action.

Burt Reynolds's style is a whole lot like James Garner, quizzical, cynical and charming. I'm not used to seeing him play it as tight lipped as he does in Malone, but he does carry it off. The film borrows a lot from the plot of Shane and I could certainly see a 1987 version of Alan Ladd in the part.

It's a good action film even though a lot of the plot issues are unresolved. More than fans of Burt Reynolds will enjoy this.