John McTiernan's Predator introduced a new horror icon. With its flowing dreadlocks, formidable size, arsenal of deadly, otherworldly weapons, and a face that can only be described as "one ugly motherfucker," the Predator quickly garnered a legion of fans, who were all the more titillated by the idea that the creature could in fact exist in the same universe as the xenomorphs from the Alien franchise. It hardly had the critics salivating, but Predator quickly became a cult classic, and is now considered one of the finest action films of the 80's. The follow-up, released three years later, is considerably less impressive. Stephen Hopkins' Predator isn't a bad film by any stretch of the imagination, but is about as middle-of-the-road as sequels come. It's sufficiently action-packed and certainly violent enough to appease the horror crowd, but ultimately this is a re-hash of the first film with the action transported from the jungles of South America to the urban jungle of a near-future Los Angeles.
It's 1997, and L.A. has become a playground for violent gangs. Shoot-outs occur in the streets in broad daylight, and the warring Colombian and Jamaican gangs don't hesitate to take down as many cops as they can. Lieutenant Mike Harrigan (Danny Glover) is perhaps the city's best hope: a plays-by-his-own-rules type who will always lead the charge into the gunfire. When a group of Colombian thugs turn up massacred by something of considerable size and strength, Harrigan makes it his personal mission to take down this mysterious hostile. The Predator is back in town on safari, and it seems that both gang members and the police are on its hit list. Harrigan and his crew - Danny Archuleta (Ruben Blades), Leona Cantrell (Maria Conchita Alonso) and Jerry Lambert (Bill Paxton) - know that something is amiss when they discover an alien artefact hidden among the carnage, and especially when secretive F.B.I. agent Peter Keyes (Gary Busey) starts sniffing around. As the bodies of his friends and enemies start to pile up, Harrigan will stop at nothing to take the extraterrestrial down, but how can he outwit a foe that has him outgunned and outsmarted?
The lack of any kind of new story means that Predator 2 lives and dies by its action. Thankfully, there is plenty of it, and it's about as gory as they come. Spines are torn from their body, hearts are ripped out of chests, and in a particularly disturbing moment, the Predator buffs the skull of his latest victim to display in its trophy room. No matter how predictable the story becomes or how ridiculous the dialogue is, nobody could claim that Predator 2 is boring. But action doesn't equal tension, and this sequel misses the mystery of the first film, when the threat was always lurking out of sight, watching his clueless target stagger about in harsh terrain. Here, the Predator jumps straight into the mix, hacking, shooting and impaling anyone in its way. It also misses the presence of Arnold Schwarzenegger and his occasional tongue-in-cheek quips. The Governator was no Laurence Olivier, but his presence is undeniable. As watchable as Glover is, who here is more akin to Lethal Weapon's Riggs than his very own Murtaugh, he ain't no Arnie. It also doesn't help that he is one of the stupidest cops ever to grace the screen. It's lazy and forgettable, but dumb and fun.
A quasi-disturbing trend in '80's American cinema was the wisecrack; innocuous in some genres, it even extended to the horror film, with the child killer (paedophile if you want a 21st century tag) Freddy Krueger - who would flaunt his quips after extravagantly offing a "youngun". Within the action film, it was Schwarzenegger who was the king of the one-liners. The Running Man offered the perfect vehicle for this fashion of dialogue, with its structure of death-for-survival. In the future (2017 to be precise) the worlds economy has crashed leaving many homeless, and the state runs the entertainment industry - in this science fiction world, television ratings are raised by the depiction of violence and humiliation; as long as it is justified with criminality.
Ben Richards (Schwarzenegger) is an ex-cop, wrongfully imprisoned for a helicopter attack on civilians. In the opening scene we see the "real" event, as Richards refuses to shoot innocents, and ignores orders. As we are in familiar sci-fi themes, this dystopic police state, and its control of the media, manipulates the facts to create a criminal. Escaping a maximum security prison (which seems surprisingly easy to break out of), Richards heads for his brothers in the city, whilst Laughlin (Yaphet Kotto) and Weiss (Marvin J. McIntyre) head for revolutionary activity. But the butcher of Bakersfield (the name attributed to Richards by the falsified media story) is too buff, and far too athletic to not be used in television most popular gameshow (its title used for this film), and Killian (Richard Dawson) spots the potential of this "contestant" in a prison break video.
Captured and forced to take part in The Running Man, Richards (along with Laughlin and Weiss and the ubiquitous damsel (Maria Conchita Alonso) who is picked up along the way) has to face a series of stalkers, who hunt them down in a fight to the death. Simply put, it is a kind of underground gladiatorial entertainment, and with the over the top stalkers (including Fireball (Jim Brown) and Buzzsaw (Gus Rethwisch), who all have specific modes of weaponry) they face a game-like structure to get to the next level. In this structure we find the linguistic genius (sic) of Schwarzenegger, as he sardonically "explains" within one comedic line, what happened when he killed another man (for example, after raising buzzsaw's chainsaw to his groin, he is asked what happened to him, and Richards replies "He had to split" - hilarity!
Some of the films themes resonate within our popular culture to this day. Now, I'm in no way stating that this film was prescient, or even that it was ahead of its time. The presentation is certainly of its time, and many of the ideas can be found elsewhere (within literature, Orwell's 1984 is standard for dystopian futures), such as Peter Watkins' Punishment Park (1971). What the film does highlight when viewed in another century is that the general populous has become far more media savvy that ever. We are used to the idea that anything we watch on television (particularly when we consider the mass of reality TV that litters our airwaves) we are watching something edited for the purpose of entertainment. In The Running Man, the audiences are unaware that manipulation is rampant within both current affairs and entertainment broadcasting.
I think I may have just taken a Schwarzenegger film far too seriously. This is an '80's gung-ho action film, that perpetuates the throw-away, comic book violence that prevailed - after all, America was defeated in their last war (Vietnam) and, I'm guessing, had to make war and violence accessible to children! This frightening concept would become more concerning when many adult action ideas were transferred to Saturday morning cartoons (both Robocop and Rambo were translated to cartoon, and they were based on two of the most violent films of the decade). This digression is not too far away from The Running Man, as it does often feel like it is directed at a younger audience, despite the bloody violence, it is very much a cartoonish and immature approach to what could have been a more cerebral comment on mass entertainment.
Based on a book by Stephen King (Writing as Richard Bachmann), the film does have some interesting elements to it. In our modern world of multi-channel, on-demand entertainment, a large segment (the majority in fact) of the media we consume, is so insipid, so incredibly dumbed-down, that it would be easy to argue that these forms of visual pleasure are produced as a form of control (you know, keep them in line by feeding them shit that rots the brain). In The Running Man, the largely homeless population gather round the over sized screens that litter the skyline to watch state-controlled gameshows, and they find their entertainment in the death of others. When Richards begins to beat the stalkers, the audience start gunning for the supposed "villain". Therefore, the film seems to be making the point that death is what people want to see, even if it is the wrong type of death.
Despite all of these transgressions, this was one of the favourites as a youngster. It is undeniably entertaining, and has some genuinely nice moments, and offers some interesting visions of a future that was inevitably there in 1987, but in which has been exacerbated over the last 30 years of increasingly dumb entertainment. Within standard television production modes, The Running Man is not inspiring film making (it was directed by Paul Michael Glaser, who was Starsky in Starsky and Hutch, and also directed many episodes of Miami Vice). There is probably no doubt that this will be remade, as the ideas and themes are still very relevant today, but lets hope that if it is remade, they forget about the muscles and gladiator iconography, and focus on the manipulation through entertainment. And please, never, ever put Schwarzenegger in a Lycra jumpsuit!
It's 1997, and L.A. has become a playground for violent gangs. Shoot-outs occur in the streets in broad daylight, and the warring Colombian and Jamaican gangs don't hesitate to take down as many cops as they can. Lieutenant Mike Harrigan (Danny Glover) is perhaps the city's best hope: a plays-by-his-own-rules type who will always lead the charge into the gunfire. When a group of Colombian thugs turn up massacred by something of considerable size and strength, Harrigan makes it his personal mission to take down this mysterious hostile. The Predator is back in town on safari, and it seems that both gang members and the police are on its hit list. Harrigan and his crew - Danny Archuleta (Ruben Blades), Leona Cantrell (Maria Conchita Alonso) and Jerry Lambert (Bill Paxton) - know that something is amiss when they discover an alien artefact hidden among the carnage, and especially when secretive F.B.I. agent Peter Keyes (Gary Busey) starts sniffing around. As the bodies of his friends and enemies start to pile up, Harrigan will stop at nothing to take the extraterrestrial down, but how can he outwit a foe that has him outgunned and outsmarted?
