Stunts

It may perhaps be a very morbid statement, but it's also an undeniable truth that action movies are far more likely to gain a cult reputation when a stuntman actually dies on set. This is somewhat the hidden premise of "Stunts", an extremely low-budgeted but nevertheless compelling and entertaining late 70s popcorn flick directed by Mark L. Lester ("Class of 1984", "Commando"). The premise is processed into a "whodunit" scenario and a film-within-film narrative structure, complete with intrigues between the different cast and crew members and various red herrings regarding the possible identity of the saboteur/stuntman killer. Robert Forster tries hard to come across as the stoic and experienced stuntman, Glen Wilson, who joins the production of a low-keyed action vehicle to investigate the circumstances of the helicopter accident in which his younger brother (also a reckless stuntman) died. Glen is convinced that his brother's gear got sabotaged and that his death wasn't accidental, and he's obviously right, since more bizarre accidents occur on the set. Much more than Brian Trenchard-Smith's contemporary "Stunt Rock", Lester's "Stunts" gives us a handful of interesting insights in the world of movie stunt work and special effects. The film also wants us to believe that stuntmen form a sort of sacred community that performs specific funeral rituals and make pacts to "pull the plug" when one of them ends up living as a vegetable when a stunt goes wrong. I don't know if there's any truth in all this, but admittedly it ensures a couple of memorable scenes. Robert Forster's acting is rather wooden, but I enjoyed the roles of familiar faces in the supportive cast, such as Ricard Lynch as the arrogant special effects wizard and Bruce Glover as stuntman Chuck who makes a really nasty fall from a six-stores tower.

This neat little sleeper of a movie, which is a pre-cursor to the more mainstream THE STUNTMAN, grabs you from the first few minutes and takes you on a wild ride right up to the end. When stuntman Greg Wilson (Gary Davis) meets a grisly end while on location with a film company, his brother Glen (Robert Forster) shows up to complete the film in his place, and find out what really happened.

Several more stuntmen meet their demise and it's really looking bad for the Special Effects man Pete Lustig (Richard Lynch). Lustig is a strange fellow to be sure, but is he capable of cold-blooded murder? The surviving stuntmen seem to think so as the bodies continue to pile up.

Meanwhile reporter BJ Parswell (Fiona Lewis) arrives to do a story on the mysterious deaths and finds herself right in the middle of it all. The action-packed ending will have you on the edge of your seat as the killer is finally revealed.

I liked this film, it wasn't as good as THE STUNTMAN, but not bad either. Forster, who resembles Robert Blake, is great as tough guy Glen. You find yourself rooting for him to find the real killer. Lynch does a fine job as the creepy, lone-wolf Lustig, yet he has such a sad, puppy-dog quality to him that you find yourself hoping he's not the one. It's hard to hate someone who seems so lonely and left out. And Lewis is superb as the bitchy reporter who turns out to be pretty nice and who ends up helping to solve the mystery.

In the late 70s and early 80s, action films didn't rely on CGI to wow the audiences; stunts were what packed in the crowds—real stunts performed by real stuntmen.

Anything with cars flying 30 feet through the air would be guaranteed to fill the theatres and the limits were pushed by these 'fall guys' as to what they would do in order to impress. Stunts—AKA 'Who Is Killing the Stuntmen?' AKA 'The Deadly Game' (UK video title)—tells of one such guy, Glen Wilson (Robert Forster), who becomes involved in the making of a movie after his brother mysteriously dies performing a stunt. Suspecting foul play, he searches for clues between filming, aided by a feisty female reporter (Fiona Lewis).

Director Mark L. Lester, who later helmed the 80s 'classics' Class of 1984 and Commando, packs the film with all manner of death defying feats, but struggles to make anything special from the run-of-the-mill script. Despite a good performance from the ever-reliable Forster and good support from a raft B-movie regulars (including the great Richard Lynch), the result feels very much like a made-for-TV movie, and lacks the grittiness I was hoping for.

Stunts is enjoyable on a nostalgic level (if you love the vibe of 70s flicks, then there is some fun to be had from the movie's general atmosphere), and it does contain a few fairly impressive action sequences, but I found that, even at a running time of less than an hour and a half, the film only just managed to keep my attention.

I wish I saw "Stunts" when it first came out. I would have been thirteen years old and I would have loved every second of it. Watching it today, I liked a whole bunch of it. This movie has goodwill to spare. The cast is very likeable and most of them give nice performances. The story is silly but the stunts are cool so that balances out. The location photography is very good. I feel like visiting that hotel. All in all, I plan on watching "Stunts" again real soon. Honorable mention: Ray Sharkey.

In the 1960s, Robert Forster was starring in major studio movies like "Medium Cool" and "Reflections In A Golden Eye". But something happened to his career, and by 1977 he was appearing in low budget product like this movie. All the same, Forster gives a pretty credible performance, and the general level of acting by the other performers is acceptable. But it's hard to think of anything else positive about this movie. There are a number of stunt sequences, but they come off as just okay at best, routine at their worst. The main problem is with the script. Forster's character is supposed to be investigating his brother's death as well as the deaths of other stuntmen, but he hardly does any investigating at all. Most of the movie is obvious padding, and the revelation of the culprit only seems to come because the movie can't be padded out any more. Only if you're desperate.