To the Limit

Although Anna Nicole Smith will never be mistaken for a legitimate actress or action star, at least she doesn't embarrass herself in "To The Limit" because the film has been carefully designed to keep her confined within her acting / action limitations (only one - brief - dramatic moment, only one - brief - fight, etc.). The requisite sex / shower scenes do appear, but they are almost treated as an afterthought, as an obligation. The film has a surprisingly intricate plot (quite confusing in fact, at least during the first half), and some of the action / chase sequences (like one where Anna has to drive backwards while the bad guys are shooting at her at the same time) aren't bad. Overall, it's an OK low-budget action film, and really, what more than "OK" could you expect in this case? (**)

This is a movie without meaning.

To The Limit is a poor production: no plot, no budget and no real acting. So the makers provided an eye-catcher - rubenesque actress Anna Nicole Smith.

And that´s it. If You like to waste your time watching:

• closeups of the best parts of Anna Nicole Smith

• totals of rubensque parts of her

• a movie without meaning nor sense

• lousy characters

• useless dialogues

• same for the action (if ever)

this is the movie for You.

Otherwise don´t watch it. Don´t even think about it.

Because there isn´t anything in it.

Can former Playboy Playmate of the Year Anna Nicole Smith act? Who says that she can? Is Anna Nicole Smith appealing? That would be a definite yes. She is an absolute knockout. As a thriller though, TO THE LIMIT is ludicrous with a plot that just does not make sense. The concept at first sounds promising, but the movie's plot is just overwhelming with too many perfunctory twists and turns that are never fully explained. The connoisseur of mindless movies may feel very alienated by this film's overly sophisticated plot. Anyway, with that said, TO THE LIMIT is bearable. Thanks to the electrifying presence of Anna Nicole Smith, TO THE LIMIT is (barely) endurable. Despite the fact that Anna Nicole Smith is an inept and terrible actress (I'm not meant to be scathing, she does try.), she has done her best in this movie.

Well, the story (You are probably saying, "You mean to tell me that there is actually a REAL plot?!") concerns Frank Da Vinci (Joey Travolta, shameful brother of John Travolta), a proficient hitman and Vietnam Veteran who tries to escape from his violent past. His attempts at both marriage and starting a new life over have dramatically ended in an unnecessary and senseless massacre. His future bride is gunned down, several of his friends are murdered...and Da Vinci himself has barely escaped death...

Then Colette (Anna Nicole Smith), a femme fatale with her own modus operandi, arrives at the scene of the crime. She has vowed revenge after her husband, China Smith (Michael Nouri in an embarrassing cameo) is killed by a car bomb. The lives of both Colette and Da Vinci intertwine and they inevitably develop an infatuation on each other. Their alliance has turned into a romance. I think we all know what that means!

Meanwhile, a boorish villain with tattoos all over his body wants a valuable item: a compact disk that contains some vital though egregious information about interesting stuff. This bad dude has attempted to assassinate Da Vinci...TWICE! Now, this villain is trying to exterminate several of Da Vinci's mob buddies including Philly (John Aprea) and Joey (David Proval).

The quest for the compact disk is in progress as Frank Da Vinci and Colette must retrieve this conundrum of an item before the evil forces do. However, Da Vinci learns that Colette also has a dark secret. Can she be trusted? Is she really Frank Da Vinci's ally, or a secret foe bent on retribution?

TO THE LIMIT is supposed to be a sequel to an earlier film titled DA VINCI'S WAR (1993). Though this picture, filmed ostensibly with a limited budget, is plagued with problems galore, I still found it to be pleasingly entertaining. The main attraction is of course Anna Nicole Smith. Yes, there are ample opportunities for her to expose herself uncensored in this film...and indeed, she takes advantage of all these chances she earns. TO THE LIMIT has its share of gratuitous sexual situations and unclothed females. As a bonus, the viewer is indulged in a number of scenes of our leading lady either in bed, in the shower, or taking a bath.

Moreover TO THE LIMIT, has enough slam-bang action in this movie to hold a B-movie lover's interest. The pyrotechnics are surprisingly good and the action proceeds at an apt pace. As well, there are some intelligent (though rather sportive) one-liners. The dialogue may be funny, but at least the cast does not remotely try to be too serious. Smith herself is a feisty person. She inspires to be hard-boiled, yet she still wants to retain her femininity. Anna Nicole Smith is kind of goofy, but that is what adds to her liveliness. She is one glorious lady.

Although the actors and actresses are not bad, considering that they are not expert thespians, there is still plenty of room for improvement. Anna Nicole Smith in particular needs to polish her acting. Sometimes, I have trouble discerning whether she is acting stern or sassy. Another of this film's shortcomings is its story-line. The convoluted plot about revenge, betrayal, dirty federal agents, and criminal masterminds is too complex for its own good. It's tough to follow, believe me! Some of the extraneous characters should have also been eliminated. Do not get discouraged though, this film is full of "eye candy" which compensates for a deficiency of logic.

TO THE LIMIT is perfect viewing for the undemanding, non-discriminating viewer who revels in these ultra *low-budget* action films. Sure, this movie is trash. Sure, you will feel guilty afterwards, but if you have always wanted to see your favorite Anna Nicole Smith portray a sexy heroic agent, then look no further.

I shall acknowledge the notion that the cast and crew have unexpectedly done their best in manufacturing both a workable plot and character development. I also guarantee that Anna Nicole Smith is certainly a visual asset. As long as there are the desired car chases (and crash and burns), the explosive shoot-outs, the beautifully seductive girls, and the high-risk stunts, why should there be a need to complain about the movie's amateurish style?

RATING: ** out of ****.

To the Limit represents everything wrong with mid-90s direct-to-video action cinema, wrapped in a package so transparently exploitative it borders on parody. This sequel to "DaVinci's War" stumbles through its revenge thriller premise with the grace of a drunk rhinoceros, delivering a viewing experience that feels less like entertainment and more like endurance testing.

The film's visual presentation epitomizes the era's low-budget aesthetic with flat, television-quality cinematography that drains any potential tension from action sequences. Lighting appears haphazardly arranged, casting harsh shadows that emphasize the cheap production values rather than creating atmosphere. The action choreography, while occasionally showing flashes of competence, suffers from uninspired direction that reduces shootouts and fight scenes to perfunctory obligations rather than compelling spectacle.

Anna Nicole Smith's performance as the vengeful ex-CIA operative Collette carries the weight of someone clearly cast for reasons having nothing to do with dramatic ability. Her line delivery alternates between wooden monotone and overwrought melodrama, never finding a natural rhythm that serves the character's supposed lethal professionalism. While her physical presence dominates the screen (as clearly intended), Smith struggles with even basic dialogue scenes, making her character's supposed intelligence background laughably unconvincing.

The supporting cast fares marginally better, with Joey Travolta bringing workmanlike competence to his mobster role, though he cannot elevate the material beyond its inherent limitations. Michael Nouri appears to be sleepwalking through his performance, delivering lines with the enthusiasm of someone reading grocery lists. The various character actors populating the criminal underworld feel recycled from dozens of similar productions, contributing to the film's generic, assembly-line quality.

The script's attempts at complexity through its dual revenge storylines only serve to highlight the writers' inability to craft coherent character motivations or believable relationships. Plot developments feel arbitrary rather than earned, with convenient coincidences driving the narrative forward when logic fails. The dialogue oscillates between exposition-heavy information dumps and cringe-inducing one-liners that land with the impact of wet cement.

What emerges is a film that understands the surface elements of action thrillers but completely misses their emotional core. The revenge theme, potentially rich with dramatic possibility, becomes a shallow excuse for violence and exploitation. The pacing lurches between sluggish character development and frantic action, never establishing a consistent tone or building genuine suspense.

I saw this movie for rent at my local video store and couldn't believe my good luck. Here was a low-budget potboiler (I'm a sucker for those) with the most gorgeous girl to ever have been born (I refer, of course, to Anna Nicole Smith) on the box cover and a title that practically screamed RENT ME! I thought for sure it was too good to be true.

Guess what? My disillusionment kicked in just a few minutes into the movie. I guess I should have realized that B-level and direct-to-video movies, while generally benefiting from more originality and freedom from censorship than the big-studio films, necessarily face a trade-off in production values and (sometimes, as in this case) performances by the actors.

What was this film shot with - a camcorder? The picture quality is very faded and fuzzy; if I didn't know better, I'd have sworn this was made in the 1970s. I tried to grin and bear it, telling myself it would get better. It did - but not by much.

The music was terrible and the plot left me cold. Just WHAT was this film about? All I managed to catch on to was some gobbledygook about a gangland hit, a stolen computer disk, and some atrocity in Vietnam - that's about it. The rest is just mindless exposition set mostly in Los Angeles and Las Vegas, with random characters showing up and leaving without rhyme or reason.

For having her name above the title, Anna Nicole was not even on the screen that much. She is supposed to be Colette DuBois, a worldly-wise government agent - but she plays the role with her lazy Texas accent intact. And while it's true that she can hold her own in fights with the villains, Colette seems far less concerned with kicking butt than with showing off her own. There are points where the narrative actually grinds to a dead stop so director Raymond Martino can offer voyeuristic shots of a naked Colette showering or doing other supposedly private things. (To be fair, Anna Nicole was not at all bad-looking naked in the mid-1990s.) It is nearly impossible to take Colette seriously as a hard-bitten hero; she seems to realize this, and makes a vain attempt to butch up by spouting obnoxious profanities throughout the picture.

TO THE LIMIT also starred Joey Travolta and a whole bunch of other people you probably wouldn't know from folks you'd run into on the street. Travolta is likable - assuming that's worth something - but he seems more befuddled than anything else. Many of the performers, in fact, seem to have been inserted just to make Anna look good.

The movie abounds in unintentional comedy, from the stereotyped accents of the mobsters to the sight of deadly assassins in black cat suits and ninja masks. (Does anyone ever wear such a getup in real life?) I stopped trying to take anything seriously after a skinny female assassin decks a man three times larger than she with a single punch. (For people who are offended by explicit content, I must also warn that there is some truly grisly violence - including a tragic wedding massacre - along with the exposure of Anna's voluptuousness.) Worst of all was the plot, which seemed cobbled together at the last second from various genres and tropes of movies past. Martino even offers us a flashback to the Vietnam War; he apparently saw one too many Oliver Stone films and was under the impression that Vietnam equals cool.

I really wanted to like TO THE LIMIT, if only for Anna's tremendous beauty and its air of B-movie innocence. I did enjoy watching it, but it was hard for me to stomach without a sense of irony. You can imagine my embarrassment when, after telling a roommate I was watching an action movie and being asked whether it starred Steven Seagal or Jean-Claude Van Damme or someone like that, I had to confess that it starred Anna Nicole Smith.