O Missionário

Dolph Lundgren is the unappreciated underdog of DTV action stars. While many people flock to buy Van Damme or Seagal's latest pics, less chase after Mr. Lundgren's work, and that's a shame. He has something going on. Something good.

MM (Missionary Man) is his third directorial effort, and although it isn't as good as his last picture, it's still interesting and shows some of the class and skillful touches he displayed in The Mechanik and The Defender.

This film is basically Pale Rider with Dolph in the Clint role. Can he handle such a role? You betcha. He plays a mysterious man named Ryder, who rolls into a quiet small town to attend a friend's funeral. Before you can say "trouble" he's already figured out that a rich young jackass is running the place and is behind the friend's death.

The rest of the first and second act is taken up with the plight of the Indians who live in the town. We're shown how modern America struggles with the Indians' beliefs and their way of life. Credit must be given to Dolph for trying to make more than a low budget shoot 'em up.

Unfortunately, as a result of that part of the story, the middle act drags a little. However, a rousing final act, where a gang of bikers turn up to foolishly stop Dolph, kick-starts the picture back to life.

The high noon showdown is BLOODY. Not Rambo bloody, but bloody nonetheless. One poor soul even takes a 12 gage to the face! It's these scenes that show Dolph has an understanding of action greater than his rivals. If Stallone's enjoying a cinematic action rebirth, Dolph's enjoying a DTV rebirth.

The look of the film is also noticeable. Lundgren has bathed the film is a dark sepia look and the music is subtle and underused.

The supporting players are a slight letdown. Some seem like community theater actors, while others, especially the Native Americans, come off as genuine and real. John Enos III rocks up as the lead heavy, Jarfe, about thirty minutes from the end, and that's a shame. His character should have been in the whole picture.

Incidentally, Dolph does the best he can with the very modest production values he has. Note to Sony: Give these stars more money to play with. Granted, they don't need $100 million, but are a few back more out of the question??? (Dolph, if you're reading this, put Enos in another one of your movies. He was cool.) And onto the man himself. As I said in my review for The Mechanik, Dolph has grown into his skin. He's comfortable and relaxed. He's the same in MM and I'm sure if he keeps getting good material to make, he will continue to relax and look good. It seems the days of the awful Storm Catcher and The Minion are behind us.

Hopefully, Dolph will continue to put out quality efforts like this. I can only imagine what would he would do with a bigger budget and better actors. It's okay though, because for now, we've got The Defender, The Mechanik and Missionary Man to enjoy.

Good work, Mr. Lundgren.

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!

As Dolph's 3rd directorial efforts, I've watched "Missionary Man" twice and the story plot was good. I'm just disappointed that the camera man who did the film-making of the "Missionary Man" - he didn't make the detailed shooting of Dolph's fighting style except the one in his hotel cafeteria that he punched, beat up the bad guys, and kicked their groins. But, the overall of this movie, we don't see HOW he punched some bad guys with his karate skills and we don't see how Dolph handled with an axe except that we see him holding an axe up in the bad guy's stomach. If you watch Van Damme or Seagal movies, you will see the detailed style of the punches, kicks, they used for their movies. Dolph's movie is too "surface", but the plot of the story is good. He looked so cool on the motorcycle. Also, I liked the story about Dolph's interaction with the Native Americans.

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 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.