Just for fun, as we wait for the Thursday
Creed box office
figures, here are my picks for my five favorite Sylvester Stallone
films. But the catch is that none of these films involve either Rocky
Balboa or John Rambo, because that would be too easy. So yeah, by
default, these won’t necessarily be his most successful films but nor
will all of them be so-called flops either. With one obvious exception,
you might argue that some of these are underrated as well, which
explains my fifth choice as it’s a film I like to defend when the
occasion presents itself. And in order of release date, here we go…
Nighthawks (1981):
Consider this the best Stallone film you’ve probably never seen.
It’s also, all things considered, his first action movie. And it’s
worth noting that Stallone didn’t immediately start out as a would-be
action hero but rather slowly morphed into one as his
Rocky franchise
grew more fantastical and he found a second franchise when Johnny Rambo
became “Rambo.” It was also originally planned as a third
French Connection movie
before being reworked into an original project. Considering the
behind-the-scenes scuffles that went on during and after production (the
film was heavily edited this way and that by Universal, by Stallone,
and by the MPAA for violence issues), it’s remarkable that it remains a
solid action movie.
Aside from being well ahead of its time in terms of its subject
matter, this tense and frankly terrific action thriller involving a
European terrorist in New York City serves as a preemptive rebuttal to
the more overtly fascist ideology found in
Cobra and perhaps wrongly found in Stallone’s
Rambo sequels
(they are more complicated than you think, but I digress). This is
actually Stallone’s first time playing a cop (something he only did
twice more in the 1980′s, in
Cobra and
Tango and Cash) and he is far from the prototypical hard-ass movie cop who will bend any rule to get the job done.
He is actually a by-the-book police officer, explicitly stating at
one point that he did not become a cop in order to hurt people. He is
repulsed by the methods proposed by the anti-terrorism INTERPOL agent
(Nigel Davenport) and wants little to do with an operation that sees the
rule of
law as an inconvenience.
Rutger Hauer is superb in his US debut as the lead terrorist, as he is
loosely based on the notorious Carlos the Jackal. I would argue that is
he is among the earliest examples of a somewhat colorful and
charismatic villain for this kind of action picture, paving the way for
Hans Gruber in
Die Hard and every scene-stealing baddie that followed.
The violence is both potent and somewhat restrained (several murders
happen entirely off-screen, with much of it neutered by the MPAA), and
even the climactic carnage is treated not as catharsis but as a tragedy.
In
a genre where the hero is defined by how little regard he has for the
rules and/or the authority he serves, Stallone’s DaSilva stands out as a
cop who desperately wants to follow the rules and who believes that due
process trumps the temporary emergency that terrorism represents. It’s
also a terrific action thriller. Yet like almost every Stallone film
from 1976 to 1985 that didn’t involve his marquee characters, this
Stallone action-er was a disappointment. Although, at a cost of around
$5 million, it’s eventual $19.9m worldwide total qualifies as “not a
disaster.”
Oscar (1991
):
Contrary to popular belief, Stallone can be a funny guy, both on and
off the screen. But when most people think of Sylvester Stallone
comedies, they think of the disastrous
Rhinestone or the equally abysmal
Stop or My Mom Will Shoot! But
this sadly under loved slamming doors mob comedy actually works on its
own low-key, small-scale terms. It was heavily advertised as “See
Stallone be funny!!” with such pandering aggression that most critics
watched it with their arms folded and audiences mostly stayed away.
That’s a shame, as this John Landis caper is genuinely amusing and
downright entertaining. And it also boasts a super early appearance from
Marisa Tomei. Her next film,
My Cousin Vinny, would win her an Oscar (which yes, she darn well deserved), turn her into a star, and become the go-to movie for first-year
law students.
Based on the Claude Magnier stage play, this
Walt Disney (via
Buena Vista) release is actually a remake of the 1967 French film of
the same name. The film is set in Depression-era Chicago and centers on a
mob boss trying to go straight. What follows is a day of romantic
calamities, financial struggles, shocking revelations, and mistaken
identities. It’s no comedy classic, but I discovered it as a teenager on
a random HBO showing and found myself genuinely enjoying it. Away from
the hype and the fact that it landed right towards the end of Stallone’s
“slump” (just before
Cliffhanger), it is a perfectly amusing little farce with the kind of material that Tim Curry could do in his sleep back in the day.
The film cost a frankly insane (for a comedy back in 1991) $35
million, so its eventual box office take of $23.5m makes it a clear-cut
flop. But in terms of Stallone comedies, it’s much better than
Stop or My Mom Will Shoot! although it’s not Stallone’s funniest movie. Speaking of which…
Demolition Man (1993):
I was tempted to call this list a grouping of Stallone’s “underrated”
movies, but I think this film is about as beloved as it should be. I
saw it on opening weekend when I was thirteen and thought it was one of
the greatest movies ever made. So it is with some shock that it still
mostly holds up every time I have revisited it over the last 22 years.
Stallone’s career was odd in that he would often have a year where he
had two big hits within months of each other. Think 1982 with
Rocky III and
First Blood or 1985 with
Rambo: First Blood part II and
Rocky IV. So it was in 1993 when Stallone’s first “comeback” launched with Renny Harlin’s big-scale (and ultra-violent)
Cliffhanger and continued with the arguably just-as-violent but noticeably more cheerful
Demolition Man.
The latter, written by Daniel
Waters (
Heathers,
Batman Returns)
among many others (with an uncredited rewrite by Fred Dekker), and
directed by Marco Brambilla, is something of a modern classic. The film
concerns a present-day cop (Stallone) and a present-day crime boss
(Wesley Snipes, delivering the kind of utterly outlandish super villainy
not seen outside of the first batch of
Batman movies) who are
cryogenically frozen and then thawed out to chase each other yet again
in a futuristic utopia. The would-be future world is a parody of the
then-modern political correctness movement, with a seemingly perfect
and harmonious world coming at a cost in terms of conformity, but nor
was it overly wistful for the would-be present day in which the
diabolical Simon Phoenix flourished.
The action is rock-solid, but the joy comes from a host of genuinely delightful characters.
Sandra Bullock became
an overnight star running with as perhaps one of the best-written “tag
along” girls ever seen in a macho male-centric action picture. Dennis
Leary pops up too as the leader of an underground resistance group, and
it’s amusing when the film stops dead for two minutes to let him do his
stand-up act. Benjamin Bratt amuses in a pre-
Law & Order turn,
and even Stallone himself is having a blast. And once again this
Stallone cop is a bad-ass without being a monster, as he takes real
offense when he realizes that the criminals he just ruffed up in a
second act skirmish were just scavengers are looking for food. The jokes
all land, the production values are spectacular (this film cost $55
million back when that meant something), and the portions of the movie
that have dated (like Jeffrey Dahmer being one of the frozen prisoners
of the future) only add to its quirky charm.
The film is weirdly light on its feet despite wallowing in just as much violence as the likes of
Cobra or
Cliffhanger and the fact that the varying genres and tones mesh together is something of a
Kindergarten Cop-level miracle. Released in October of 1993, this Warner Bros. /
Time Warner Inc.
release was an early attempt to drop a would-be summer blockbuster into
an offseason release date. The film set an October record with a $14m
debut weekend, but it wasn’t super-duper leggy and ended its domestic
run with just $58m. That was still the third-biggest movie ever in
October at the time, behind Disney’s
Cool Runnings (which opened a week earlier and legged it to $68.5m off a $7m debut) and the 1989 smash
Look Who’s Talking ($140m
and $296m worldwide off a $12m debut). The expensive sci-fi action
comedy earned $159.1m worldwide, and although a potential sequel and/or
prequel were planned, nothing ever came of it, and Stallone’s franchises
remained limited to
Rocky and
Rambo for another 17 years.
Daylight (1996):
This one was released at the tail-end of Stallone’s early 90′s comeback run, which basically went from
Cliffhanger in 1993 until
Copland in 1997.
As I discussed back when
Bullet to the Head came out in early 2013, this film is also a product of the mid-90′s disaster movie boom, as 1996 alone brought us
Twister,
Independence Day, and
Daylight while 1997 would give us
Dante’s Peak, Volcano, and oh yeah,
Titanic. Anyway, this was the third of three surprisingly not-terrible Rob Cohen films, following
Dragon: The Bruce Lee Story and
Dragonheart.
The disaster drama, starring Sly as a former EMS chief who finds
himself attempting to rescue survivors trapped in a sealed off tunnel,
is a no frills but mostly engaging genre exercise.
The film is lean and mean, with an emphasis on mean, as the picture
is arbitrarily cruel about who lives and who dies along the way. Like
the variations on
The Poseidon Adventure, it
presents a situation where most of the would-be victims are already dead
or soon will be and then ask us to focus on the lucky few who have a
token shot at survival. With a strong cast (Amy Brenneman, Viggo
Mortensen, Dan Hedaya, Stan Shaw, Jay O. Sanders, Danielle
Harris, etc.) a relentless pace, and a solid and polished production (the film cost $80 million back when that meant something),
Daylight is, along with the better-known
Copland the following year,
is the last truly wholly (artistically) successful genre film Stallone has yet made outside of his marquee franchises.
But coming on the tail-end of said comeback, it was a domestic
disaster, opening with just $10m and ending its run with $33m. But it
was saved by overseas strength where the picture earned a robust $126m
for a $159m total. It’s not a hit, but back in 1996 a movie could
theoretically crawl to break-even status on just double the budget.
The Expendables (2010):
It was a coin toss between this underrated action homage and the gritty cop drama
Copland.
While the James Mangold picture is pretty darn good, it also bases at
least some of its impact on the somewhat false notion that Stallone
hadn’t done any “real acting” in decades. As someone who has been a fan
of his acting and his action from the get-go, I’d rather highlight this
genuinely underrated franchise-starter. This long-gestating “action
movie all-stars to the rescue” genre homage didn’t quite deliver in
terms of who came to play (it’s mostly the Stallone and Jason Statham
show, with the likes of Jean Claude-Van Damme, Bruce Willis, and Arnold
Schwarzenegger waiting until the next round to do more than a cameo) and
it’s not all that spectacular of an action movie. But what it has over
the sequels is that it makes an effort to be a real movie.
The story is cut-and-dry, with Stallone’s group of do-gooder
mercenaries being hired by a devious CIA operative (Willis) to interfere
with a Latin American country. What they discover is a corrupt General
being strong-armed by American corporate interests (personified by Eric
Roberts) and, of course, our reluctant heroes eventually make the call
to do the right thing for the right reasons.
Oddly enough,
The Expendables seems to almost be a rebuttal to the hopeless pessimism of
Rambo,
as our heroes find themselves fighting to protect one person (Giselle
ItiƩ) who might be able to make a difference all on her own in a
revolution-wracked nation. In the end,
The Expendables is
a throwback to that optimistic era where America still believed it
could solve the world’s problems, even ones that America created.
The film doesn’t shy away from rubbing our noses in the blowback of
American imperialistic interference, but it makes a point to clarify
that American overseas engagement can still theoretically do good if
they don’t burn the village to save it. In a skewed way, the film was
both an homage to and a rebuttal of the might = right machismo that
defined the 80′s era of Stallone, Schwarzenegger, and Chuck Norris
movies. Today, whether or not we get to win seems no longer up to us.
The most potent nostalgia found in
The Expendables was rooted
in the idea that America still believed that it was the good guy and
could save the proverbial day (while also tossing out periodic internal
bad apples) without breaking a sweat.
The second film may have all the cameos and bigger action while the
third has some solid third act action beats from director Patrick
Hughes, but the first film, written and directed by Stallone, is the
only one that feels like it’s trying. Anyway, this Lions Gate
Entertainment release opened in August of 2010 with a $35 million debut,
eventually earning $108m here and $288m worldwide on a $90m budget.
The Expendables 2 earned $305m worldwide in 2012 while the PG-13 and otherwise neutered
Expendables 3 earned
just $204m worldwide in August of 2014, mostly thanks to strong
business ($72m) from China. We shall see if the threatened
Expendables 4 comes to fruition. But a film with the story of the first film and the action of the second could be something to sing about.
And that’s a wrap! As mentioned above, I basically flipped a coin on
Copland. As for
Cliffhanger, I like it but not as much as the others above. It
has
a great opening and some strong action beats, but it’s a needlessly
cruel movie that nonetheless still works thanks to John Lithgow’s
devilish performance and the strong production values.
Source: Forbes