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TIFF Midnight Madness. The ones I liked My ongoing list of seen movies. Pelis Share this Rating Title: Brawl in Cell Block 99 7. Use the HTML below. You must be a registered user to use the IMDb rating plugin. Edit Cast Cast overview, first billed only: Vince Vaughn Bradley Thomas Jennifer Carpenter Lauren Thomas Don Johnson Warden Tuggs Udo Kier Placid Man Marc Blucas Gil Dion Mucciacito Eleazar Geno Segers Roman Victor Almanzar Pedro Tom Guiry Wilson as Thomas Guiry Willie C.

Lefty Mustafa Shakir Andre Fred Melamed Irving Clark Johnson Detective Watkins Devon Windsor Jill Michael Medeiros Edit Storyline Bradley Thomas is a hard working man. Plot Keywords: Parents Guide: Edit Details Official Sites: Official Facebook. Release Date: Also Known As: Filming Locations: Production Co: Sound Mix: Dolby Digital. Edit Did You Know?

Only a few real lights are used! Goofs When the prison bus backs away from Redleaf, there is no audible back-up signal.

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A vehicle this size would certainly be equipped with a loud beeping alarm, as required by United States Occupational Safety and Health Administration regulations. Plot Summary. Plot Keywords. Parents Guide. External Sites. User Reviews. User Ratings. External Reviews. Metacritic Reviews.

Photo Gallery. Trailers and Videos. Crazy Credits. Alternate Versions. Rate This. Martin Scorsese. Richard Price.

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Share this Rating Title: Bad Video 7. Use the HTML below. You must be a registered user to use the IMDb rating plugin. Learn more More Like This. Black or White Video Short Fantasy Music. Remember the Time Video Short Comedy Fantasy. Billie Jean Video Short Music Musical. A music video for Michael Jackson's song 'Billie Jean'.

Smooth Criminal Video Short Music. A promotional video for Michael Jackson's hit single "Smooth Criminal. Beat It Video Short Crime Music. A promotional video for Michael Jackson's hit single "Beat It. He takes down a helicopter with a rock. He blows up a gas station.

35 Fun Facts About Michael Jackson's "Thriller" Album - JACK

He gives a tearful final monologue. Point Break is sublime. With its beautiful ocean photography, pulse-pounding robbery sequences, and delicate male-friendship between Keanu Reeves and Patrick Swayze, the undercover-cop drama rides tone like a veteran surfer ripping up uneven waves. Yes, some parts -- like anything with Gary Busey -- are ridiculous, but director Kathryn Bigelow brings a wryness to the material that keeps the movie from descending into bro-ed out camp.

It's no surprise that the Fast and Furious series lifted the film's most essential quality to kick-start a billion-dollar franchise -- everyone wants to spend time with a close-knit family. Aliens pit slimy xenomorphs and their towering queen against Ripley and an expendable crew, all clearly marked for vicious consumption.

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There are bigger weapons, badder attacks, and a brawl fueled by the now-iconic powerloader. The thrill is watching them ace it. Feel for the people tasked with remaking Paul Verhoeven's violent, vicious police story.

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He didn't just get it right the first time -- Verhoeven was the Clarence Boddicker to his Alex Murphy of a movie, shooting until it was a bloody pulp. RoboCop reaches deranged levels of brutality and gore in its quest to satirize American jurisprudence. ED guns down a room full of executives and we cheer. Murphy is blown to bits and we gasp, until he's reborn with robot parts and takes revenge in equally destructive ways. Verhoeven's shootouts are high caliber, even when they're critical.

The beauty of RoboCop: Must action movies amuse? Sam Peckinpah's is an ugly, nihilistic ride through the a transitional time in American history, Old West morality going out like the sunset. Gang leader Pike William Holden is set to retire after one last heist. He thrashes around in a world he no longer recognizes.

But it's exquisitely executed, packing a jaw-dropping train attack and what can only be described as the Lawrence of Arabia of town-square shootouts. The squib budget on The Wild Bunch must have been astronomical. But, we had to be real: The opening, a black-and-white hand-to-hand bathroom fight scene, is just brutal. Bond's high-throttle parkour chase scene atop the cranes and rooftops of Madagascar still provokes gasps, even on the umpteenth viewing.

There's something otherworldly about Arnold Schwarzenegger. With his enormous physique, unwavering confidence, and off-putting charm, he often seems less than human. So it makes sense that his most worthy opponent came from outer space. In Predator , Schwarzenegger's Dutch leads a six-man team into the fictional country of Val Verde to rescue hostages, and they quickly find themselves facing off against an invisibility cloak-wearing alien with a scary mouth.

Director John McTiernan, the great unsung hero of action cinema, films the macho showdown with a clear-eyed, tactile approach that keeps even the more ridiculous elements grounded in mud, sweat, and celebratory cigar smoke. The Shaw Brothers were the leading purveyors of kung-fu cinema throughout the s and '70s.

Though lacking the female voices of earlier Shaw Brothers works, and aggressively yanggang , Five Deadly Venoms emphasizes the artistry of a good fight. A hard hit is only as good as the costumes, sets, and performers surrounding it. Venoms has it all, relentless and elegant, with the right amount of cheese. As much of a kinetic and visual triumph as it was a psychological mindfuck -- and that's saying something.

Like he did with Alien , James Cameron took his own horror franchise -- yes, Arnold Schwarzenegger's T is right up there with Jason Voorhees and Michael Myers -- and blew it out for an action sequel. Converting Arnold from bad to good guy is egregious. Let's look past that. T2 is a raging chase movie, laser-focused like Robert Patrick's liquid-metal assassin and an ode to Los Angeles infrastructure. There's a joy to seeing Schwarzenegger play protector to Edward Furlong's wily John Connor, but Linda Hamilton, as the unhinged, guns-blazing Sarah Connor, pushes Terminator 2 into the upper echelon of action-dom.

Nothing can contain her, which works out well for us spectators. As Mad Max: No, not the first Mad Max film, more of a grungy cop drama. In the process, it also set a new bar for pure gasoline-fueled, pedal-to-the-metal insanity -- one that has, arguably, never been topped.

Commando is a war movie with one man on the good-guy team. Matrix smashes through walls, breaks out of planes, twirls down shopping-mall banners definitely an '80s movie , and fires every known weapon at a band of South American criminals who kidnap his daughter. An array of explosive, practical stunts helps everything else fall into place. Speed is the ultimate A-to-B-to-C action movie, accelerating from beginning to end without losing track of the characters in jeopardy. We root for the melting pot on board the bus to come out on top.

A countdown clock, and the best action score ever written, apply pressure. He added insane, near-operatic gun battles, including a stunning confrontation in a hospital, pushing his own slow-mo and pigeons aesthetic to new poetic heights.

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That he left for America after completing this film, battling with producers while enlivening largely forgettable Hollywood movies, only makes the film more achingly beautiful. Die Hard is funny but never silly. It's thrilling but not horrifying. It's simple but rarely dumb. In walking that precarious tonal line, director John McTiernan crafted the platonic ideal of what an action movie should be. Bruce Willis, who in was mostly known as "the guy from Moonlighting ," pushed against the roided-out regulars of the era with wisecracks, setting the stage for the in-over-their-heads everymen to come.

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