La calle del terror

Years ago, cop Chuck Norris captured serial killer Simon Moon, a.k.a. "The Terror." This made him a local hero dubbed "Hero" by the press. Now The Terror is back and Hero has to stop him. This is a somewhat different movie for Chuck than his other '80s movies. He attempts to play a more layered and sensitive guy this time around. Sure he does spin-kicks and the like, but he also wears sweaters and goes shopping with his pregnant girlfriend Brynn Thayer (one of Matlock's daughters). Jack O'Halloran plays The Terror. Steve James takes time out from being Michael Dudikoff's sidekick in the American Ninja movies to being Chuck's partner here. Billy Drago also appears in a surprisingly non-villainous role. Chuck gets a lot of flack for a variety of reasons but his '80s movies were usually entertaining. This is no exception. It's not high art but it is a fun cop movie.

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 .

WOW! I've heard many negative reviews of this film but holy cow is it a nail biter! Chuck Norris is at his prime in this movie, a performance he was only able to top in Delta Force One and Two. Billy Drago, as Doctor Highwater, leads a solid supporting cast in making this movie a huge success. Every time Chuck and Billy team up they create an explosion of action and emotion. I've watched this movie several times and every time I come away with something new I have learned about the characters or the plot itself. This movie has an awful high babe factor as well. Bottom line: Drago and Norris are an hit on screen!

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.

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.