Part of Tarantino's achievement here is making a big, almost epic film out of such small elements. If your characters are strong enough and your dialogue this good, then a succession of accidents, coincidences, and misunderstandings can be at least as engaging as an effects-led blockbuster. Pulp Fiction is a milestone of '90s pop culture with good reason, but it still works perfectly today.
Frank Castle skulks on the edges of War Zone, the great vigilante crowded out by a horde of flat, vapid characters within a plot as complicated and haphazard as Jigsaw's ruined face. Lexi Alexander's film does have some positives, including its unabashedly garish look and a couple of decent action sequences.
Certainly Ray Stevenson is a far better choice than Dolph Lundgren or Thomas Jane had been - but War Zone is just too poorly written and carelessly constructed to work. Almost two decades on, Blade surely remains the high watermark for bloodthirsty Marvel adaptations.
Timothy Dalton's superb first 007 entry reinvigorated the series, which had been in a dreadful state creatively for over a decade.
Dalton's harder-edged approach, and that of The Living Daylights itself, was ideally suited to 1987 and provides a perfect antidote to the buffoonish Moore outings which preceded it. The new star's performance is perfect - still the best in the series - and is matched by the supporting cast, top-notch action, fantastic visual effects, and John Barry's last wonderful…
I don't know about you, but I wouldn't want to live in a world without 1) a buddy cop film involving a Soviet officer; or 2) a film in which Schwarzenegger plays a Russian.
Thankfully, we do not live in such a world because with Red Heat, Walter Hill provided both of these things.
While it wasn't the first buddy cop film, Hill's 48 Hrs. (1982) helped popularise the genre and firm up its conventions. Released the year after Lethal…