El héroe y el terror

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 .

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.

It has been a year, but even after six months of therapy, Det. Danny O'Brien is still having nightmares about that fight. His therapist, Kay, is more than just his therapist. She's pregnant with his baby and O'Brien wants to marry her.

Simon Moon, who killed 22 women, breaks out of Camden State Hospital three years after O'Brien captured him. But the laundry van he stole ran off the road and into the Snake River (wait, if he was in California ... or does California have a Snake River?). His body is never found.

A dilapidated neighborhood in Los Angeles may be on its way back after the city spent $14 million on the renovation of a legendary theater. The completion of the project is being celebrated with a big movie premiere. What the people inside don't know is that before the event started, two women were killed in the building. Everything points to Simon Moon, but he's dead. Isn't he?

The beginning of the movie made me wonder if this was the sort of thing I could enjoy. But seeing the name of Ben Matlock's gorgeous daughter in the opening credits gave me an incentive to watch. Brynn Thayer isn't that great-looking here, but she is attractive and she has her good moments as an actress. Plus her character is easy to like.

Chuck Norris is tough when he has to be, but also quite kind and tender. He did a good job, and I actually liked him. I could see this movie as the pilot for a series (if it had been made recently), but I don't know that I'd watch week after week. Those looking for Norris to display his martial arts skills get one scene where he teaches Victor a lesson.

The investigation is interesting, though not that complicated.

What I wasn't expecting when I saw the opening was so much comedy. Many of O'Brien's scenes with Kay, the scene where the nervous theater manager tells Betsy she has the job, the scene where Robinson said he would help with the investigation, and part of Robinson's one other scene in the theater. Plus a chase by police that involves O'Brien but has nothing to do with the rest of the plot.

The movie is not that violent, except for the nightmare. The killer (whose face we don't see) breaks people's necks, which isn't pleasant to watch, but it's not bloody.

It was good for a TV-movie. Average for a theatrical production.

Chuck Norris takes on a serial killer in this enjoyable action thriller. Okay, it's no Silent Rage . . . . . . . but what is? Fans of the mighty Chuck will find enough to enjoy as he launches his patented flying kicks. Steve James is also on hand to look tough and praise our hero, who is literally nicknamed hero at various times throughout (hence the title).

HERO AND THE TERROR is probably one of the weaker Norris/Cannon collaborations, but still it's worth a watch if you think of it as a watered- down version of SILENT RAGE.. sounds like a good idea, which- let's face it- is.

Not one of his most exciting films, but definitely one of his better films, considering everything after this was going straight to video. A solid opening and a killer ending make up for the fact that there's very little action in this, as it tries to go for more of a thriller/drama vibe, in which case it only half-succeeds.

Hero and the Terror' was a slight departure for the action star – one that offered more psychological drama than punches and kicks. Still, I actually like the movie enough to say it's worth a look, particularly if you've never seen it or haven't seen it in a while.

Not much martial arts in this, but Check it out if you like some Good Suspense in an action film.

"Hero and the Terror" is pretty good as Chuck Norris cinema goes. It's more along the lines of his 1982 vehicle "Silent Rage", as it's really more of a thriller than an action film; therefore, some fans may find it disappointing.

Chuck doesn't do too much ass kicking this time around in this attempt to play a different sort of character, and to his credit he pulls it off, playing Danny O'Brien, a detective who earned the nickname "Hero" when he apprehended vicious serial killer Simon Moon, a.k.a. "The Terror" (boxer turned actor Jack O'Halloran, perfectly cast). Danny's always felt guilty about the subsequent praise as he knows what really happened is that he got lucky. Naturally, by the time this movie is over, he'll have realized that this is one demon he will have to exorcise, in order to deal with his nightmares.

Brynn Thayer is foxy and feisty as his leading lady Kay (who was Danny's psychiatrist!), and the late, great Steve James is his usual charismatic self as Danny's colleague Bill; James simply steals the scenes whenever he's on screen. Also appearing are Ron O'Neal (Superfly is the mayor of L.A. in this thing!), Jeffrey Kramer of "Jaws" 1 and 2, Joe Guzaldo (who acted with Chuck in "Code of Silence"), Murphy Dunne of the Blues Brothers Band as the theatre manager, ravishing Playboy Playmate Karen Witter as Hollywood starlet Ginger, Tony DiBenedetto, and the always delicious Billy Drago, Chuck's nemesis in the second "Delta Force" movie, as a highly unlikely psychiatrist.

The real-life Wiltern theatre makes for an impressive setting, and there is some decently done suspense in this thing. The music by David M. Frank fits the tone of the movie with its somber quality. Any and all action scenes are rather perfunctory. Still, Chuck and the cast & crew deserve some credit for doing something a little different; you don't see him in the position of actually being intimidated by his opponent too often, although, again, this might not sit will with some action fans watching.

In any event, it's enjoyable stuff, with a screenplay co-written by former actor Michael Blodgett ("Beyond the Valley of the Dolls"), who does an uncredited bit in an extended restaurant scene.

Eight out of 10.