The budget shows a lot here, but that's also just a result of how strangely ambitious it is. I still quite like this one. I want to miss Dan Cain. I like Bruce Abbott and on some level wish he were here, but I think his dismissal at the beginning makes a sensible arc for his character and the replacement is a nice spin on that idea.
It's been a long time since I saw this, which might be good. I like it a lot more than I remembered liking it before. Am I a softer touch now?
I'm not sure. It's still too reliant on repeating emotional beats from the original, but it's a good deal of fun actually. I like it.
The original trilogy is like a great band at their peak. They're making hits, feeling it. They fall away a bit at the end, trying too hard to sound like themselves, but it's what everyone remembers. The prequels are like their weird period of experimenting with orchestras and world music and big concepts they can't quite keep contained in the realm of the pop song. This is like a cover band made up of skilled musicians playing their greatest hits competently but soullessly in an order that robs them of any context or meaning.
On some level, this is a Eurocrime version of Just For the Hell of It with Tomás Milián as a Police Commissioner looking into the crime spree. And if that had been the sum total of it, that would have been more than enough for me.
It is something more, though, it's a thoughtful and well-acted movie. Not only by Milián, who can essentially do no wrong in my world, but by Eleonora Giorgi as well as Stefano Patrizi, who gives a strangely haunted and thoughtful portrayal of the gang's ringleader.