#but he delivered a top tier sexy priest

[girlonfilmmovies]

New Classics: Universal Soldier - Day of Reckoning (2012)

“Would you like to be free from pain?”

The Universal Soldier series was never the blockbuster franchise its producers so desperately wanted to be. Even the original 1992 entry felt like a decade too late when it appeared, a warmed over mish-mash of post-Vietnam fears and cornball sci-fi that’s only remembered for Dolph Lundgren’s delirious villain and Jean Claude Van Damme’s naked buns. By the second, Van Damme was already phoning it in and Lundgren’s charming psychopath was nowhere to be found. Eventually the rights were swept up in the late 2000s, presumably to be relegated to the same dollar-bin garbage that keeps pumping out unnecessary z-tier sequels to forgotten fare like Behind Enemy Lines or The Marine. Yet John Hyams, son of director Peter Hyams of 2010, Outland, and Timecop fame/infamy, had other plans. 

While on paper 2009′s Universal Soldier: Regeneration sounds like any other cheap action film shot on whatever Eastern European backlot that will stretch every dollar in their budget, Hyams showcased a natural talent for shooting action that many of his rivals lacked. Especially in the post-Bourne era, an action film that isn’t cut within an inch of comprehension seems like a wonderful breath of fresh air. Bringing back a freshly rehabbed Van Damme and an always hard-working Lundgren certainly helped too. So what to do after achieving a mild success with a mostly forgotten C-tier action franchise? John Hyams certainly had a bold idea: throw everything related to the series in the trash and turn it into a two hour arthouse horror film, complete with hallucinogenic freakouts, nightmarish atmosphere, and some of the most brutal action put to film.

To be fair, he didn’t jettison all aspects of the franchise, although you won’t miss much by going in fresh. He keeps the core concept of the “universal soldier”, a government program that revives deceased soldiers and uses them (under mind control) for their own dirty work which usually goes horrifically wrong every time. He also brings back Van Damme and Lundgren’s respective characters, though now with entirely different personalities and motivations (also Lundgren’s is alive again after having half his head blown off in the last one). He retains the menacing former MMA fighter Andrei Arlovski from the previous film, although he actually plays a different character this time around. Barring all that, Hyams essentially starts from a clean slate, and to do that he finds a new lead in Scott Adkins. A hero in a very specific film niche, Adkins was always the right man in the wrong time. A highly skilled martial artist, he initially started in turn of the century Hong Kong fare, making a few appearances in mediocre Jackie Chan crap and direct to video garbage as evil henchmen. Once he moved on to Hollywood, the Bourne style had taken over and directors had no need for an actor who could actually fight when they could just cut around an actor’s lack of athleticism. Relegated to the henchman role for almost the entirety of his mainstream work (most widely recognized today for Marvel’s Doctor Strange where he plays... a henchman), he only received larger roles in cheap video fare, where he was also mostly wasted. One particular director named Isaac Florentine took a liking to him though, and often gave him major roles that allowed him to showcase his skills. His breakout role was as hardened Russian fighter Yuri Boyka in the Undisputed franchise, a similarly hijacked brand that took a bad prison movie and turned it into a quasi-Bloodsport tribute, complete with flashy fight scenes and a lot of actual talented martial artists. But even then, there was a watchability to Adkins’ raw acting talent, and being handsome and able to roundhouse people flawlessly also couldn’t hurt. 

We open with average everyday dad John (Adkins) woken up by his daughter in the middle of the night. She worries that she hears monsters in the house and needs her dad to give her the all-clear to go to sleep. Much to his horror, his kitchen is inhabited by a group of ominous masked men, led by a bald man named Luc Deveraux (Van Damme). The Deveraux of past films was a noble if tired soldier, who was more than willing to save the world last film. This one rocks a shaved head and a thousand yard stare, a man broken by the world around him into whatever shape stands in front of John. He rambles in vague existentialist terms, only to interrupt when he begins to summarily execute John’s family right in front of him. One shot later, John awakens in a hospital bed with that as the only memory left in his shattered brain. A government agent gives him word of an investigation into Deveraux, but even the injured John knows there’s no backbone to his words. Whatever that agent knows he’s keeping to himself, so John has to do some digging on his own. We set on a path reminiscent of David Lynch’s Twin Peaks, a dreamlike collage of characters who all seem a little bit off in an environment that looks not to far behind from joining them. A possible lead winds up dead with only the classic noir matchbox to lead John to his next destination. A seedy strip club with a girl who seems to recognize him but under an entirely different name and personality. And for a man who was gravely injured, he seems to be healing at an almost unnatural rate.

Intercut with this first half is the descent into hell of sleeper agent Magnus (Arlovski). An imposing hulk in a massive plumber jumpsuit, he becomes activated in the middle of a job by the same mysterious agent John was questioned by and goes off wordlessly hunting. He shows up at a seedy neon-soaked brothel filled with a group of soldiers led by Deveraux’s right hand man Andrew Scott (Lundgren), all receiving copious amounts of strange, almost brutally violent sexual pleasure. Magnus’ shotgun does most of his talking here, in quite graphic form, until Scott hits him with a drugged syringe. A piercing fluttering sound enters as Magnus slows down and stares into the camera with a thousand yard stare. Scott (and soon a hallucinated Deveraux) preaches about being freed from his government oppressors and joining their separatist group, aimed at infiltrating the very top powers of America through these techniques. He arrives at their compound and it’s a nightmarish hellscape of masculinity: dingy lighting, distant dog barking, more camo than an army surplus store, and a near never-ending barrage of hyper masculine muscle men with guns at their side beating the hell out of each other for pure entertainment. We drift through the compound in slow motion, driven by a constant unnerving low rumble and lights feverishly pulsating. Scott delivers his speeches on freedom to his recruits, but one can only wonder if Deveraux has merely become their new slave master, as he roams the halls silently killing any who seem to perturb him. He is their cult leader, as all bow down before him and worship his words like that of a priest. They send Magnus after John, and soon enough the chase is on. 

Hyams’ slow-burn style reads like Lynch by way of Gaspar Noe, a mix of the puzzling bad dream confusion of the former and the drugged up nightmare rave aesthetic of the latter. The brothel Scott’s troops spend their time in plays very much in the fashion of Noe’s underground trips of perversity. Taking full advantage of the film’s rare NC-17 rating, men’s muscular naked bodies are on full display, playing much more like contorted funhouse portraits of the “desired” male physique. Everything is sweaty and dingy, the people more rugged than Hollywood usually goes for, with the glimpses of depravity we see far beyond the usual we expect from sexy fanservice in low rent action movies. We see extremely aggressive acts from violent abuse to fetishized self-harm; the only way these men can get off is through the same violence that surrounds them. We meet mysterious characters later on who seem to know what’s ahead of John even before it happens and once Magnus attempts to hit John with the same drugged concoction that turned him, things get even stranger. Particularly nasty wounds seem to miraculously regenerate, he begins seeing visions of Deveraux in the mirror, and finds footage of a mystery man who looks just like him committing heinous acts of brutality towards people from his past.

Speaking of brutality, Hyams knows that at the end of the day this is an action film, and he really lets it rip with the full freedom of the NC-17. Magnus often comes in like a feral animal, screaming like a bat out of hell and often with a very dangerous weapon to boot. His first confrontation with John is a mess, an average man having to face an enraged behemoth, throwing him around like a ragdoll and tearing the set apart. John’s carelessness gets his fingers get caught in Magnus’ axe, immediately grounding Hyams’ action in clear physical stakes. We’ll eventually see a enraged John storm through Deveraux’s compound, mostly staged like one long shot, tearing through men like they were paper, as he too becomes like a rabid animal, letting out feral yells as he mercilessly slaughters everything in his path. But the real showstopper is a one-on-one showdown with Magnus in a sports department store, as both men grab whatever they can, from baseball bats to dumbbells to bowling balls, to pulverize the other one into pulp. Hyams’ and his team always shoot very clearly and cleanly, letting these talented men showcase their athletic skill and only sprinkling a little extra spice on top when needed.

John will eventually discover that he is quite literally a monster himself, not so different from them, and will be led towards the swamps of the Bayou. There, he will literally descend into the earth into the compound, into the masculine hell, looking for Deveraux’s promises of pure freedom. He’ll find a curious doctor, a man fallen right out of a Cronenberg movie, who will promise him freedom by telling him the truth and offering a rather gruesome surgery. But can John handle learning the truth, a truth that will shatter his entire reality? Much like in Noe’s Irreversible, the original crime is a lot more important than the vengeance we are supposed to demand. And to put it simply, John will not handle the truth very well. 

The film ends on a rather disquieting note, as we meet the mysterious government agent again in the middle of nowhere. He admits his greater involvement, but has a bizarre adoration for John, noting how impressed he was that he was not powered by simple blind patriotism like the turned murderous agents, but rather his blind love for family. He speaks to him like a father would to a graduating son. One gun shot later and the agent is being replaced with an identical copy, who takes his spot in his vehicle to presumably go back to work and infiltrate higher parts of society with the separatist group’s ideas. But before he leaves, he gives a blank, subservient bow to the changed John, a man who has become all powerful only by rejecting the reality right in front of him. For if patriarchy has taught one thing, it’s that power and force are the only means of control, and John’s violent rampage has only won him followers. And when a broken man has an army that will listen to his every word, it’s hard to not throw your morals out the window and become a literal god among men.