Le justicier - L'ultime combat

Whatever you do, don't shack up with Paul Kersey, or you'll regret it - The fifth outing for Bronson in his famous vigilante series. Even in his 70's gunning down scum is never on the bottom of his priorities list. Now any movie ending with a Roman numeral may put off some people, but this movie is totally enjoyable and you'll cheer Charles everytime he guns down members of the mob headed by a very nasty mob boss. The Death Wish quintology ranks right up there with the Godfather and Star Wars Trilogy.

Charles Bronsan is back for the last time playing Paul Kersey. This outing he's fighting the Mafiso backed Unions after his fiancé gets disfigured and later killed. He also must save his fiancé's daughter who is also the daughter of the head Union boss. Contary to public perception, this isn't the worst of the series (that dubious honor would go to part 4). No this film is a step up from the previous one, and while it's not as great as part 3 was, it's still a pretty good watch. This was also Bronson's last theatrical film and I shed a tear when I heard of the great actors passing. He will be missed.

My Grade: B-

Eye Candy: Sharolyn Sparrow gets topless, as do some extras.

With his cousin and long-time partner Yoram Globus gone after the private feud that errupted when Cannon Films went bankrupt, Menahem Golan turned to schlock producers Ami Artzi and Damian Lee to produce the fifth entry of the series. Surprisingly, especially considering the general quality of their output, they manage to improve on the poor quality of DEATH WISH 4. The production values (as low budget as they may be) aren't as cheap as they were before, Bronson is a bit more lively in his performance, and the screenplay tries more for a story of substance. What really makes the movie fun at times is its twisted sense of humor. There's some nice black comic-moments, such as with one particular mobster's funeral scene, or the later plastic wrap sequence. Even better is Michael Parks' performance as the chief bad guy. His various comments (improvised?) about anything are hilarious, and he lays on the ham very thickly to be a lot of fun to watch.

It still could have been better. One of the two big problems with the movie is that it takes about half of the movie for Bronson to start his rampage of vengeance. Even with Parks' entertaining performance, you'll likely be squirming in your seat with impatience for Bronson to get it on. And when he *does* get it on, it's kind of underwhelming - there's not much of a body count, and the length of time between kills is relentlessly padded. At least the end results are not the worst way the series could have ended. (By the way, Golan actually announced "Death Wish 6: The New Vigilante" in the trade papers not long after this one was released, though his company going bankrupt put an end to that plan.)

The beginning of this final installment of the long-running "Death Wish" series is shaky with inappropriate humor (even the title comes off as a tasteless pun, as a central character is disfigured by having her face bashed into a mirror) and a lot of mobster-movie clichés (the henchmen to Michael Parks' villain are howling stereotypes), writer-director Allan Goldstein transforms "Death Wish 5" into a surprisingly entertaining little crime thriller. Though frequently riddled with inept moments (the mobsters unload round after round into walls after their target has jumped out of sight) and plot holes (how is Kersey tracking the bad guys, and since when did he become an explosives expert?), the film is the most well-developed of the series in terms of character, plot, and pacing. I've never seen Charles Bronson more convincingly expressive than he is here, and Michael Parks ("Kill Bill, Volume 2") is utterly reptilian in his loathsomeness. While the plot is essentially a repeat of the previous films, it contains a confident gloss that lifts it out of exploitation and closer to a mainstream film--it isn't entirely successful, but rooting for Bronson never gets old.

After years in L.A., Paul Kersey is back in New York with his new fashion-based designer fiancée Olivia Regent and along with her young daughter Chelsea. Kersey has put away his old habits, until Olivia's ex-husband Tommy O'Shea (who happens to be mob figure) uses her business to run an illegal money laundry scheme and tries at every optometry of scary her from testifying against him in court. They go one step to far when they disfigure and then later on kill Olivia. By law Chelsea is to live with her father. This tips Kersey's world up side down and vengeance mode comes kicking back in.

What a crying shame. I'm shocked to see the user rating for this "Death Wish" instalment to be so low. Making it by far the weakest of the series. I don't agree, but hey you can't have it all your own way, right. Anyhow, this was the filth and final "Death Wish" to date and it was actually the first one I ever saw. Maybe that's why I seem to cut it a bit more slack then say number four.

So, it's been going on for twenty years and Charles Bronson (who was around 70 at time) is still around looking to quite fit and rather animated. Definitely more so than his two previous efforts. Back to form with his dry, ice-cool persona and showing some feeling along the way. What I like about this outing (other than being a improvement over "Death Wish 4") is that it seems to go back to the dark underbelly and cruel vibe (maybe more so) that worked in the earlier forays. Kersey is up against more upper-class foes, than the usual street pests. At heart is goes back to the basic, heavy-handed revenge yarn, where the detailed situations are harrowing and the violence is simply cold-blooded. He might not want to return the favour (as firstly he lets the cop do their job), but his finally forced back into his beloved side-trade, as it's in the blood and the loved ones are taken away from him… again. Once you start, there is no going back… even when the police know his secret. The way he subtly toys around with the guilty criminals to get them rather anxious, waiting for their turn to be mowed down. Only adds to that ominously nasty touch that waits and the dark humour has real snappiness to it here. The deaths scenes are at times wickedly inventive (well it beats going up to someone and just shooting them) and rapid stunt work is exceptionally pulled off with such thrilling poise. Oh and how can I forget about the gratuitous slow motion? Some times it works and other times your thinking… "Oh why?". Anyhow you gotta love it on this occasion!

As director (and writer) Allan Goldstein stylishly tailored it on a much larger scale that seemed to pay dividends with its competently showy set pieces and crisp pacing. There's always something there to hold your interest. In all, there's no denying it's by the numbers and the predictable plot has a fair share of clichés grounding it. Although it goes out there to delve a little deeper into the material (a highly witty and concise script: "Idiots with guns, make me nervous".) and truly making you feel for the characters. The hammy bad guys are typically portrayed as slimy, ruthless tyrants that deserve what they get. You'll sure be cheering on Kersey here, after you cop a taste of the lively performances of Michael Parks (who's tremendously scummy as Tommy O'Shea) and Robert Joy (makes light work as the paranoid nutter Freddie 'Flakes'). Lesley-Anne Down's presence simply glows and is credibly good as Olivia Regent. Giving able support are Saul Rubinek, Kenneth Welsh and Miguel Sandoval. The technical side of the production is soundly staged. The special effects are put to good use and come off well. What is nailed down is a traditionally sounding music score that likes too flutter about with loud echoing cues and the standard camera-work sufficiently frames every shot with nice scope.

By me saying it shares some common ground with the original films. I guess you'll be hoping for something rough around the edges and some exploitation to fit right in. Too bad, as that isn't going to happen. Those looking for the obligatory rape scene too (which appears in basically all four), forget it. This one is going for the mainstream pool. Even the ending has that cop-out feel about it with what has gone all before it.

For all your troubles it's nothing more than a glossed up, blunt action/crime vehicle for Bronson, which manages to mix the good and not-so-good aspects of the series. Only fans should bother.