El arcángel

Dolph's latest film, and his third foray into directing, is once again one of his career best. Like The Mechanik, Dolph puts to bed some of the murkier days of his back catalogue, and proves, that the best man to help bring Dolph Lundgren back into the limelight, is Dolph Lundgren! Delving once more into a film with a theme of revenge, as in The Mechanik, there might have been a niggling worry, that re-treading that ground could breed familiarity. But what Dolph delivers is an action film in style, tone, and look, that is not only far removed from what he's previously done, but a film that just looks and feels fresh. There aren't many action films out there like Missionary Man, on a visual, tonal level.

In Missionary Man, Dolph stars as Ryder, a mysterious stranger who rides into town for a friends funeral. Pretty soon he's rubbing local oppressor John Reno up the wrong way. As the film progresses we start to see Ryder has other motives for being in town. It's a modern western and has some great western trademarks, including a fantastic climax. However though on paper the story has similar arcs as Dolph's previous directing effort, Missionary Man is such a contrast. It's a whole different style of flick, and with Dolph's increased level or creative control since his last directing gig, it's a more complete vision.

As director, Dolph really has a great visual eye here. What's great about the film, is that beyond the choice of super-16, it feels as if Dolph is in complete control. He's constrained by a tight budget certainly, but he spends it brilliantly, and really creates a great atmosphere. Dolph, his DP Bing Rao, and steadicam operator, George R Niedson combine to create a visual delight. There's some great shots in this film, and it has a feeling of being a graphic novel brought to life, particularly with some almost picturesque still shots. Dolph has gone all out here. At times it feels quite arty, and considering this is a DTV film, and a Dolph Lundgren film, that's quite something! The choice of super-16 is one that can be fraught with peril. There's a graininess to it, and the way it picks up light and colour can sometimes make a film look bad if not in the hands of a capable or inspired DP. Of course not only is the film well shot, but given it was shot on super- 16, there was the advantage of it being mastered directly onto HD. This also allowed for easier digital grading, as well as ensuring the film looked crisp. I mean this sucker has a great transfer. Dolph makes full use of the grading tool, and gives the film an almost monochrome look. The de-saturated picture adds to the foreboding atmosphere, and is also ably helped along by the low key and effective score by Elia Cmiral (Ronin, The Mechanik). Elsewhere Dolph knows action, having worked with the likes of John Woo, and he delivers here. There's short punctuations of violence throughout the film, before the inevitable, and just downright badass showdown. Dolph just goes Terminator on some biker dudes and it rocks the action Kasbah! As actor, Dolph does well here too. He's no Olivier, he knows it himself, but he plays to his strength, playing the Eastwood style man of few words, but immense badassedness (not a real word, but should be!). Parallels with Clint will be made of course, both being movie tough guys who made the jump from actor to writer and director. Dolph will not likely have the success of Clint, but he's the straight to video equivalent I guess, and there's no great shame in that anymore. Dolph's got that tough guy charisma. Nowadays what we lack in cinema is action stars, with the sheer hardness and tough as nails presence that Clint, Bronson, Arnie, Sly, and the likes of Seagal and Lundgren, used to deliver. We've not had any new action men come along who had the same presence, merely pretenders like Vin Diesel and The Rock. There's also been thesp's like Matt Damon, who while magnificent as Bourne isn't gonna settle down into the handing people their asses genre. You do have to, with the odd exception, have to look in the direct to video market for a good old school hardass action flick, and visit the old guard like Dolph and Jean Claude.

The remainder of the cast are mixed. Given the films budget, the support cast isn't great. The incidental characters, probably including locals given a place on screen, aren't great. Thankfully though the important roles are well filled. As Reno, Matthew Tompkins makes for a good bad guy. Also starring is August Schellenberg a very good actor who fans of Free Willy will likely remember, and he adds a bit of gravitas to proceedings. Young actress Chelsea Ricketts is superb, and surely has a bright future ahead of her (the kid who plays her older brother isn't great to be honest- but his role is insignificant). John Enos III stars as the lead biker and Ryder's main foe, and though he only comes in toward the end of the movie, he does a great job.

Overall, while the film won't win originality prizes, it feels fresh because of the style. It's just a good old fashioned R rated action film, proving big set pieces and oodles of CGI do not make a good action film (*cough* Transformers!! *cough*). Dolph is getting more assured behind the camera with every film, while also showing a versatility to switch style and tone. All three of his films have been markedly different, but Missionary Man stands out as something that is perhaps his most unique work. Action fans will not be disappointed. I'd love to see Dolph given a bit more money to play around with. ****

I've always been a fan of action movies having grown up in the 80's fed on a diet of Sly, Arnie, Chuck Norris, Steven Seagal and Jean Claude Van Damme. These are the best of the best when it comes to kicking ass. I would include Dolph Lundgren is this category. Granted, he has been in some terrible movies like Cover Up and The Minion, but all the other big action stars also have movies on their CV's that they want to forget about! The thing that struck me about Missionary Man is that is was filmed brilliantly and had an excellent musical score to go with the usual Dolph Lundgren action we expect from him. He directed this movie and it is shot brilliantly. It reminded me of older Clint Eastwood movies, as Dolph plays a stranger in a small town who decides to help the townsfolk fight back against the greedy businessman John Reno and the corrupt Sheriff's Department. It is the closest thing to a modern western I've seen, and I really enjoyed it. Dolph is back people, and this is one of his best!

Dolph Lundgren stars as Ryder a mysterious biker who rolls into town (and bares an uncanny resemblance to Gary Busey) and defends an Indian reservation from the local mobsters and bikers that show up in the finale. Missionary Man despite what Dolph Lundgren fans will tell you, is not one of his best movies. Indeed in comparison to his last two directorial efforts this one is the weakest. The problem is that the action is badly edited, the bad guy bikers aren't written well and pose little threat and the film is all grainy and bled out of colors. (Why Dolph didn't shoot this in black and white is beyond me.) The climax has its moments and Missionary Man does remain somewhat watchable through Lundgren's typically commanding presence but with such craftsmanship shown in The Russian Specialist and The Defender one can't help but be disappointed with this one. Plus Lundgren borrows heavily from many superior films such as Pale Rider, High Plains Drifter and Billy Jack. The problem is that he just can't fuse enough novelty to distinguish his work. In the end though it's the sped up action and over-edited camera angles which render this one as a forgettable effort. Not a terrible movie mind you, indeed it is superior to most straight to video movies but Missionary Man is nothing special.

* * out of 4-(Fair)

I just saw the film. And seeing it it reminded me of the Clint Eastwood film Palerider. It was sort of the same story but in a modern time. Why I say this is because of so many similarities: - man presumed dead by the gangsters, hired gangster believes he killed him many years ago (just like in Palerider) - holy man with the bible (just like in Palerider) - alone against the gangsters (as many films)

The similarity is maybe to similar. Maybe too similar to call it written by Dolph Lundgren. More like partly written by Dolph Lundgren. The base of the story is 100% Palerider.

But the film it self is good. Like the modern twist of it. But it is Palerider.

A mysterious biker (Dolph Lundgren) arrives in a small town in an Indian reservation for the funeral of his friend J.J. and discovers through his family that he was murdered by the men of the powerful John Reno (Matthew Stephens Tompkins). The corrupt businessman plans to build a casino in association with criminals from the North in the town and J.J. opposed to his intentions offering a better option to the locals. The lone vigilante decides to stay in town with his bible and drinking straight tequila and like an avenging angel, bring justice to people.

While watching "Missionary Man", I have immediately associated the story as an adaptation of "Pale Rider" and the character of Dolph Lundgren to "The Preacher" and also to "Billy Jack", and I found that others IMDb users had had the same impression. Like in "Pale Rider", the mysterious stranger leaves many open questions that may give a mystical interpretation to his character. In the end, "Missionary Man" is modern adaptation and very decent remake of a classic. My vote is seven.

Title (Brazil): "O Missionário" ("The Missionary")