Sterben - Aber richtig!

a B movie. like a lot of others. same hero, same bad guys, same final. and the predictable line with the expected turn of events. but , after a time, it seems be different. maybe for the presence of Lou Diamond Phillips. or for the performance, who saves a lot, of Andre Braugher. it fact, the answer is not complicated. the ambition of a young director who dreams to do a film who , at first sigh, not propose something original but reflects his love for a movie genre is the pillar who sustains fights and gun fires, fake scenes and the classic love story. and, at its end, the film has the huge virtue to remember the old story about the war between good and evil in its basic essence. a good point for be indulgent about A Better Way to Die.

A BETTER WAY TO DIE is hardly a B-movie gem, and yet it's certainly an entertaining time-waster, a star vehicle and labour of love for a director/writer/actor you've never heard of and a movie packed to the brim with chases and shoot-outs. In terms of pacing this is an unstoppable movie with all manner of crime clichés and violent events to propel the slim storyline.

In essence, star Scott Wiper plays a down-on-his-luck type who finds himself pursued by multiple bad guys, including gangsters, dealers and corrupt government agents. It feels a bit like a Tarantino flick, something like TRUE ROMANCE, in that there are multiple criminals and they're all battling against each other. Wiper is instantly forgettable as a leading man but I quite enjoyed his work as writer and director here.

Star actors are low on the ground, but viewers are treated to Lou Diamond Phillips giving a laidback turn as a corrupt cop, HOSTEL's Rick Hoffman as a thug, Natasha Henstridge (SPECIES) as the love interest and another decent role for Andre Braugher (THE MIST). The action comes thick and fast and I'll admit it, I had a ball with this one, even if it's not something you'd want to watch again once you know what happens.

A BETTER WAY TO DIE is an entertaining, albeit mindless, low-budget action film. Like many films in this direct-to-video niche, there's no rhyme or reason to why things happen in DIE, except simply to say that things happen because it leads to other things happening, such as the constant gunfights and other action-related sequences.

Basically a string of shootouts and violent deaths linked together by an afterthought of a story, A BETTER WAY TO DIE is still quite entertaining. That is, if you manage to turn off your brain and realize that the reason cops never show up is because it would ruin the next upcoming gunfight.

Of note is Lou Diamond Phillips, who continues his string of Cheesy Villains in these direct-to-video action films. What has happened, Lou?

5 out of 10.

I can see how this film could be tossed into the Violent Action or confusingly written low budget categories, but I found it to be a cut or more above those types of films because of its feel. It seemed to me more like a long waking nightmare than an action yarn. It was personal. Where Dirty Harry or Arnold type films tend to try to inject societal relevance, this is about what is happening to one lone guy's little world. It seems to start the usual way in the big city, but the road trip begins immediately after the cops vs bad guy shootout. Then it is just him against the darker side of the world.

Odd to say it, but it had elements in it of a gentle, thoughtful road film like Wild Strawberries. But these gentle experiences were incessantly subverted by the nightmarish downward spiral that was this day or so in the life of the antihero lead. Dr. Borg could not find an experience or place that could distract him for long from his regrets. Boomer's problems were less existential. He could not find a safe place, even to sleep. One thing led to another and every time it couldn't get worse it did. Sustaining that through the length of the film in writing and directing is quite an accomplishment and it all goes to Wiper. The other actors did a sturdy to inspired job of playing it on the money and not ruining the vibe.

I think of it as a Film Noir and it reminds me of an Edmond O'Brien character running afoul of Communist spies and their thugs. Constantly on the run, both to and from, never knowing what is around the next corner.

Without giving anything away, the other element running through the film is an amazing tale of, ultimately, redemption involving Boomer and Cleveland. It is of course given the necessary weight by the usual brilliant performance by Andre Braugher.

Much of the film had a claustrophobic quality to it, another departure from a typical action film. I don't say this often, but being in black and white would have taken as much away from this film as it would have added. It is pretty darn good the way it is. And it does not remind me very much of any other film I have ever seen. It is coming from another place entirely.

As a serious crime drama, this totally sucks. But if viewed as a spoof on the genre, it's quite amusing. Every cliche is squeezed into the plot; much of the action is over-the-top. If they were trying for a hard-core, gritty flick to be taken seriously, they flopped. But if seen as a less-slapstick variation on films like Clive Owens' underappreciated Shoot'Em Up, it plays a lot better.