Jean Claude plays an official who's just been appointed as Second In Command to the U.S.Ambassador at an American Embassy in a small, turbulent Eastern European nation. When local ... See full summary »
Jean-Claude Van Damme,
Van Damme plays Rudy whose father, Oscar is an archaeologist. His father goes to Israel. When his father disappears, he goes to Israel to find him. The chief of police claims that his ... See full summary »
Jean-Claude Van Damme,
In the spring, the full moon shines for the warrior who has lost his way. Coyote is the spirit that leads back to life. If he follows the coyote when the moon is full, the warrior will see the path once more...
John G. Avildsen
Jean-Claude Van Damme,
Anthony Stowe is a down-and-out detective addicted to heroine whose days always seem to go from bad to worse. Stowe is coming off of a drug deal, in which two officers were killed, and the primary villain, the drugs, the money and the surveillance tapes are still at large. He is also dealing with his wife, who has just informed him that she is pregnant - but the child is not his. After a gunfight in which Stowe comes very close to death, After being severely wounded and losing all will to live, His body gives up and falls into a coma. After an inner battle with himself, He gains again the spirit to live again. While on the road to recovery, Stowe finds himself in a very personal battle to make amends with his kidnapped wife and to take revenge on his assailant once and for all. Written by
Crosby .Mehdi Moayedi
Originally Nick Ingman was hired to orchestrate and conduct the score but due to some rescheduling issues it became necessary to move his recording session from Dublin to London to record in the Abbey Road studios. Because of other commitments at the revised recording time, Ingman had to be replaced by another conductor, Nic Raine. See more »
At the end when Callahan is holding Stowe's wife hostage in front of the helicopter, Callahan fires at Stowe once. When the camera comes back to him holding Stowe's wife hostage, we can see and hear her shriek as another gunshot is seen going off but not heard (the puff of smoke is clearly visible). See more »
[holding a gun to Lorenz's head]
If you're going to take a shot at a cop, make sure you kill him. And the fact that you were willing to take that shot means you have a lot to say.
See more »
The ending credits are interrupted by a take showing what really happened at the heist at the beginning of the movie. See more »
Written by Curtis Williams, Jesse Belvin (as Jesse L. Belvin) and Gaynel Hodge
Performed by Cindy Asada
Published by Embassy Music Corporation(BMI)
Courtesy of Music Sales Corporation See more »
Van Damme hits form again, big time! Until Death is a dark, dirty, damn nasty and repugnant film, but in a good way. In a Get Carter, Death Wish, Marathon Man kinda way. It's a 70's style thriller with all the grimy darkness, pessimism and degeneracy of so many great flicks of that time. Sure Wake Of Death had that feel, but somewhere along the way with director Phillipe Martinez's unsure hand, it attempted artiness, and relied far too heavily on the editing room, while also playing and drawing out needless scenes. Until Death is honed, grounded and above all consistent. All those who doubted Simon Fellow's because of his previous two films, should note that both were filmed in Romania and that the notoriously iffy company Castel were responsible. Here however, under the guidance of Moshe Diamont, Fellows is given more freedom to express himself, and he keeps things simple, grounded, allowing scenes to play out. He's far more sure of what he wants here, and delivers. He adds in a few touches that feel experimental, and a bit dangerous, and that only adds to the 70's vibe. A 70's vibe does not a good movie make, but it's a welcome part of an overall good movie.
Now in my honest opinion, I found this to be Van Damme's best film overall, period! At the same time it's hard to even call this a Van Damme movie. It's like a lost movie from Bronson or Eastwood, circa 70's. It's like Siegal and Peckinpah joined forces and took on the reckless abandon and excessiveness of Michael Winner. Those who want the new Bloodsport will not take this to their hearts as Van Damme's pinnacle, but still, they should enjoy Van Damme in a film with genuine atmosphere, in a role he stamps real authority on. Van Damme, minus the flashy kicks, plays a walking turd! He's a degenerate drug addled morally abstruse cop, and a borderline maniac. Van Damme has a role split into two halves if you like, pre-coma, post-coma. Pre coma is the dirty cop Stowe who's lost all regard for the people close to him, and his co-workers. He lives only for himself, and only to bring down ex-partner Callaghan (Rea). He'd sell his own mother to get the collar. Van Damme gives his best performance. He's really playing an unlikeable character whose judgement has become clouded. He thinks he's doing right, trying to do right, but loses track of the right and wrong ways to get what he wants. Van Damme is just a mean, badass machine in the first half of the film, not a man to be crossed at all. When Stowe wakes from his coma, having been left for dead by Callaghan, he wants to turn his life around, while he has to fully recover from his injuries. Here Van Damme is equally good. The film is a real departure for him. He really immerses himself in the role and vanity is so far from his mind here. Van Damme looks outta shape (and should do), and early on is really made to look dishevelled. Elsewhere Stephen Rea kind of flitters in and out in an extended cameo, but he gets to really chew scenery in a great scene at the end, when he and Stowe come face to face for the first time since Stowe's resurrection. Rea is simply picking up his paycheque, but he gets the one scene to let loose and deliver, and he leaves a lasting impression. Selina Giles as Stowe's wife enters the film with a bang! It's not a good one either, cause she's not delivering a good performance. However no sooner than Van Damme gets shot in the head, she begins delivering a fine performance. It's quite strange in that respect. There's also decent support from Adam Leese and Gary Beadle.
The action is short and swift. It's supposed to hit hard, and hit fast. They're simple scenes but they pack a punch, in a way that The Hard Corps and Second In Command were lacking. Ditto Wake Of Death, while supremely violent was a letdown in the action. Here though it's all about the violence. It's efficiently choreographed and edited and it has impact. When people die, you know they're dead. Those eagerly awaiting plenty of hand-to hand will be disappointed it, there's only a few quick little flourishes, but for this film Van Damme is far better armed with a shotgun than unleashing his kicks. The action isn't meant to be over the top, drawn out and excessive. It's about the forceful violence dished out. To see what I mean simply check the end action sequence in Straw Dogs.
Simon Fellows does well here as I mentioned, and he keeps the film ticking over nicely. Doug Milsome's cinematography is the best in a Van Damme movie for a while now. It looks great, and really keeps that dank 70's vibe going. There's also great sound design and Matthew Booth does a good job piecing everything together in the editing suite. A real standout though is the score from Mark Sayfritz, a blend of orchestra and synth effortlessly combining. Occasionally there's a real Massive Attack vibe in the music. It's arguably the best score in a Van Damme film, and Sayfritz will be a welcome returnee for Van Damme's next film, The Shepard. All in all, those who like a good gritty action thriller with some vicious violence, need look no further than Until Death. Those who saw Wake Of Death as a turning point were seeing a false dawn, cause this is Van Damme's career defining moment. It proves he's now an actor, and that WOD wasn't a flash in the pan. This is the best DTV film I've seen, and as those who know my love of Lundgren's Mechanik, will realise that means a lot. ****
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