Action Jackson

I did a quick search on the internet to see if my memory served me right, and apparently it has. By 1981, the Blaxploitation action film was exhausted. - Although Fred Williamson had made a couple of action films in the mid-'80s, these don't really count, because Williamson can't act and can't direct.

The good news was that African-American cinema could say farewell to a stereotype; the bad news was that Hollywood wanted to find some way to say farewell to African-American cinema. The mid-'80s were lean years for anyone with dark-skin in Hollywood.

One of the problems had been that people critical of blaxploitation had missed the fact that Hollywood only does two type of films with any regularity, the action film (Western, Sci-Fi, crime, etc.) and the sit-com (domestic comedy). The notion that Hollywood does dramatic or otherwise serious films is a myth Hollywood likes to drag out at the Academy Awards. So if you're not making action films or comedies, you're not in Hollywood.

By the late '80s it was clear to everyone that African Americans (now constituting a sizable portion of regular movie audiences) were going to have to be represented on film again. But by then it was also clear that this audience wasn't going to tolerate being relegated to pimp and gang roles, at least not completely. For one thing, Eddie Murphy had broken the blaxploitation mold in 48 Hours and Beverly Hills Cop. I don't think anybody realizes that Murphy's roles in these films are a basic blaxploitation stereotypes, because Murphy clearly wasn't going to let himself be stereotyped. Murphy's popularity and savvy probably caused more anxiety than the anger of Melvin Van Peebles or Richard Pryor ever had, because it was clear that he was there to make money, something Hollywood could really understand.

At any rate: In 1988 the Wayans produced I'm Gonna Git You Sucka, a knock-down parody of the blaxploitation genre that pretty much assured that it would never raise its afro-covered head again. But it was still clear that African Americans needed a new action hero; so enter Action Jackson.

The reason why this film is not better remembered as the return of the black action hero is clearly because of the script. This is paint-by-numbers formula movie-making; this script has been written and filmed a hundred times, and every action star in Hollywood has appeared in some version of it, all of the Baldwin brothers in turn, Sly Stallone, Kirk Russell, Seagal, Schwarzenegger, Brandon Lee - I'm sure the reader can fill in the titles of each actor's version, regardless how unmemorable the films may have been. This formula was a kind of rite-of-passage for anyone wanting to make action films in the late '80s - early '90s. So why not Carl Weathers?

Actually, Weathers' performance in this film is quite good. It's hard to come up with a bone-breaking/rule-breaking cop who also happens to be suave and savvy (think part Dirty Harry, part James Bond), but Weathers nearly pulls it off. The decision not to play him with a 'black-english' accent and with no chip on his shoulder were exactly the qualities needed to leave the whole blaxploitation question away from the film at the time it was made. There are also some important ethnic transgressions here - we first find Vanity as the new mistress of the white bad-guy, whereas it's clear that Sharon stone's character has had a fling with Carl weathers'. Essentially, then, the film portrays a fantasy Detroit, where racism has indeed become a thing of the past that its all but forgotten. If only that were really true! But, again, that was exactly what was needed to get African Americans back into action films - i.e., back into Hollywood.

The direction of the film is fairly tight. The characters are so two dimensional, it may not be noticeable but the performances are all pretty solid; the whole film is professionally produced and presented. Also, two years before everybody in America would discover who Jackie Chan was and that he came from somewhere called Hong Kong, there are some terrific stunts in this film. And I noticed that other critics have reported that both Sharon Stone and Vanity get naked in this movie; frankly, I find such comments tasteless. On the other hand, there's no denying the attraction some men will feel for such important examples of women taking proper care of their health.

But the main point is, the film should be preserved if for now other reason, than because it was indeed the return to the mainstream of the strong African-American male hero; and we still need that in the cinema, and always have.

Aaaah the late 80s… when:

• The fact that a character's name is 'Action' Jackson didn't need to be justified. It just was. • We take for granted that Action Jackson is scary and awe-inspiring as peripheral characters tell us so. • Ditto the fact that his passion for his job and creative methods have resulted in him being demoted and his wife leaving him… • The bad guy is identified early. • Better still he is already Action Jackson's nemesis. • Better still, still. The guy responsible for his demotion and wife leaving him. • Unexpected and unnecessary nudity was both expected and necessary. • The bad guy has a hot trophy wife (Sharon Stone) and a hot mistress (Vanity). • Both of whom are more than willing to take their clothes off for little reason.

Furthermore…

• Women get out of the shower nude. Guys are wearing jeans. • Performing in a club with a totally see through top isn't noticed by anyone in the club – but those of us watching at home… • It doesn't matter if the hero doesn't actually say something funny or clever, as long as he and the other characters seem to think what he is saying is funny and/or clever. • Post-kill quips still need work though, no "Hasta la vista Baby" or "Stick around here"… (though "How do you like your ribs" was OK. The answer is apparently 'exploded'.) • Dangerous minions can time their hit and run assassination attempts to coincide with the came split second that their target walks through a door, despite traffic and the fact that they are hundreds of yards away with no possible way of knowing that this was the point he was to emerge… • "I have to catch a cab' means a chase scene, with Jackson not only catching up but giving him a mouthful through the window of his speeding car… while still on foot! • Leading to big explosions and certain civilian deaths, none of which are mentioned again. • People get hit in the face and actually bleed. (Happens less on film nowadays than you think.) • Cheesy pop music on the soundtrack is justifiable for the fact that it was the 80s, the spiritual home of cheesy pop music. • Every character actor in the film is recognisable from another classic film of the era. In the first 10 minutes I saw minor roles filled with actors from Predator, Beverly Hills Cop, Red Heat, Back to the Future and seemingly half of the cast of Die Hard. • We know the big showdown will be a fist fight when we see the Bad Guy training in hand to hand combat. • A good body double can make you think that a 60 year old is a karate machine… why don't we ever manage to see his face while he pulling off these athletic moves…? • Stunt men are plentiful and disposable, and unnecessary CGI is not needed. • Movies were 80 minutes long and had a beginning, middle and end.

Final Rating – 6 / 10. None of the above things are bad. Action Jackson is not in the same league as Lethal Weapon, Die Hard and their peers, but it is a solid formula action comedy, which proves that Carl Weathers had genuine on screen likability.

While it is a pretty standard genre flick in some respects (maverick hero, psychotic and ambitious bad guy, beautiful women, angry boss, lots of explosions, etc.), "Action Jackson" maintains an irresistibly silly, tongue in cheek style. It's often so damn silly that it's hilarious. Just witness our hero's attempts to take down a cab driving goon. It begins with a good "grabber" opening, and continues to deliver enough mayhem to keep the action junkie consistently amused.

In his first starring vehicle, Carl Weathers once again shows off effortless charisma and his incredibly chiseled body. He's a natural for a role like this, playing the title character, a detective who's been saddled with a desk job for two years but who gets caught up in the schemes of Peter Dellaplane (a wonderfully hammy Craig T. Nelson), an auto tycoon with political ambitions and a murderous nature. Action Jackson figures that the way to get to Dellaplane is through his women: either his young second wife Patrice (Sharon Stone) or his foxy mistress Sydney (singer / actress Vanity).

The film comes up with a couple of one liners, some better than others. "So? He had a spare!" You know it's not meant to be taken seriously when Action Jackson actually drives a car through his quarry's house - and that's just one major example. The clichés are there, too: we have the kind of "Talking Villain" who feels the obligation to tell the good guy his entire evil plan - wrongly assuming, of course, that his nemesis is toast. Craig R. Baxley, a longtime stunt specialist in a career dating back to the early 70s, makes his theatrical directing debut here, and he would follow it up with such other delights as "I Come In Peace" (a.k.a. "Dark Angel") and "Stone Cold". So the movie is naturally full of great stunt work.

One awesome aspect to this movie is playing Spot the Familiar Face. And lots of them turn up - Thomas F. Wilson, Bill Duke, Robert Davi, Jack Thibeau, Roger Aaron Brown, Mary Ellen Trainor, Ed O'Ross, Bob Minor, Dennis Hayden, Brian Libby, Al Leong, De'voreaux White, Jim Haynie, Nicholas Worth, Chino 'Fats' Williams, Charles Meshack, Miguel A. Nunez Jr., Branscombe Richmond, and Sonny Landham. Now THAT'S an impressive cast!

Add to that a very 80s pop soundtrack (Vanity herself performs two tunes), a score by Herbie Hancock and Michael Kamen, a fairly high body count, and a lively finish, and you've got the ingredients for a damn fine 96 minutes of entertainment.

Seven out of 10.

There isn't much to say about this movie. It's so stereo-type 80's it's unreal! Carl Weathers (Rocky, Predator) plays Jericho 'Action' Jackson. Im just gonna leave it there because his name is just too damn awesome! This is full of explosions, fulls of fist fights, full of awful acting and one-liners and amazingly, has a half decent cast of big name 80's action stars like Bill Duke and Sonny Landham (both of whom appeared in Predator with Weathers and Arnold Schwarzenegger), and Robert Davy (Die Hard, Raw Deal, Predator 2). But the story is basically about Jackson, who has been demoted to a desk cop and hates it, and has to keep his old 'Action Jackson' rebellious days behind him if he want's to be promoted again. When he is trailing a sadistic businessman who is murdering all his union competition so he can take the head job, then you know his 'Action Jackson' gun-ho days are going to return to save the day! It really is fun, I recommend it completely.

Action is a proud man, a high-school track star, a dedicated cop, a sergeant who lost his lieutenant's stripes almost two years ago…

He jostles a conceited, two-faced, backstabbing mass murderer called Peter Dellaplane (Craig T. Nelson). Director Craig R. Baxley has not only carried it off, but makes you believe it… One must also give some of the credit to Carl Weathers whose erect muscular body and his charm and good looks give some credence to the heroics…

The picture contains fun, lots of action, and two sexy women…

Vanity looked so gorgeous when she was shot up with heroin…

Stone met her husband after his first wife died and his son went to prison… She thinks that he may seem greedy and arrogant but he remained loved by everyone, and the whole experience changed him… She also thinks that Jackson is not so different from her husband, that both are stubborn, and both intent on getting what they want