CAPTAIN AMERICA (2011) - USA! USA! USA!

I've never been a much of a comic book reader, but with all the superhero movie adaptations coming to the screen, I did ask myself why no one was bothering to bring Captain America to the big screen. Of course a week after, they announced the release date and casting for Captain America: The First Avenger. I was stoked to see the final result, and a few weeks ago managed to get my ass to the theater and enjoy the movie in all it's big screen glory. High hopes were had while entering the theater, and I'm glad to report the movie doesn't disappoint.
 

The recession affects all of us. Even the Captain.

The year is 1942. Nazi Germany's rampage through Europe has been hugely successful and most of Europe is under its total control. A Nazi officer by the name of Johann Schmidt (Hugo Weaving) finds an ancient mysterious object which promises ungodly amounts of energy, and begins to develop weapons based off it.

Back in America, Steve Rogers (Chris Evans) is a scrawny dweeb, who suffers the indignity of being rejected by the Army multiple times while watching all his cool friends join up to fight Hitler. Dejected, he is approached by Dr. Erskine (Stanley Tucci), a brilliant scientists who offers him a chance to serve his country. Rogers accepts, and goes through selection training with Colonel Phillips (Tommy Lee Jones) and Peggy Carter (Hayley Atwell), a British spy sent to help the Americans. Rogers makes the final cut, and is transformed into a super soldier by Erskine's serum. Unfortunately for Rogers, the lab is attacked by Nazi agents right after his transformation, and he is left as a one of a kind freak show.

All that P90X finally paid off.

Unconvinced by Rogers' potential, the Army has Captain America go on tour to sell war bonds, which Rogers soon grows to hate, since he longs for the real action. While visiting troops in the European battlefield, he hears that his best friend's unit was captured, and he gets Peggy and Howard Stark (Dominic Cooper) to help him infiltrate a huge German base and manages to save the prisoners.

After his first reckless, improvised mission, Rogers finally manages to convince the Colonel that he can contribute to the war, gets his iconic shield, and suits up to kick ass. He and his new team of Howling Commandos are sent out to destroy Red Skull's secret weapons factories throughout occupied Europe. As they take the fight to the Nazis, they soon discover that Red Skull's plans go far beyond the scope of Hitler's Reich: he's building a series of super weapons for his HYDRA unit with which he plans to take over most of the world, including a giant flying wing bomber plane to attack New York City. In true comic book fashion, only the Captain and his buddies can take on Red Skull and stop his Nazi shenanigans once and for all.

AMERICA, FUCK YEAH!

Superhero movies of late have mostly tried to emulate the grittier, more realistic tone of Batman Begins, which worked wonders for the latest X-Men movie and Iron Man, but also gave us the god awful emo Peter Parker in Spider-Man 3. Thankfully, Captain America has brought back a bit of camp into the mix. The Art Deco buildings, giant flying wings and propaganda posters everywhere add up to a cool '40s vibe that helps the sets and action stand out. Chris Evans nails his role, the Captain being a better fit for him than the Human Torch, and Hugo Weaving has a surprisingly good turn as the snarling, red-faced Nazi bastard. Hayley Atwell is a feast for the eyes of course, but the best role has got to be Tommy Lee Jones as the smartass, gruff Colonel who has most of the best lines and steals every scene he's in. The production value is great as you'd expect from the big Marvel blockbusters, with great CGI used to good effect in the final battle, but a lot of praise goes towards the use of gorgeous 40s sets that look convincing and add to the movie's charm. Yes, Captain America is all about cockpunching Nazis, but damn if it isn't a good looking movie.

An actual picture of Hugo Weaving without make up.

Captain America is an example getting a comic book movie right (*cough cough* Green Lanturd, I'm looking at you...). Joe Johnston has put plenty of pulpy, serial-inspired action on the screen, kept the cheese factor reasonably low, and has a good cast to fill the roles. It seems like making a good superhero movie should be a no-brainer, but I'm grateful that this one turned out as well as it did. Of course, they also did a nice job of getting the audience ready for next year's Avengers, with the obligatory and rather long post-credits teaser. I won't spoil it, but it's worth watching. Recommended.

Best scene: Every scene with Hayley Atwell in it. YUM.

Best line: (a POW asks Rogers if he knows what he's doing as they escape a Nazi camp) - "Yeah, I've knocked out Adolf Hitler over 200 times."



TL;DR - The Cap kicks Nazi ass & gets the babe in the best superhero movie of the summer - 8/10

PROOF OF LIFE (2000) - More Maximus, Less Meg.

I remember walking around the TV section at a local Best Buy or some other huge electronics store back a few years back and seeing some scenes from this movie, which I'd never heard about before. There was Russell Crowe, all decked out in camo face paint, packing an assault rifle and reducing population of Latin America by the dozens in a frantic, violent rescue scene. With huge surround sound and a big screen, it worked pretty well as a demo, but years passed and I forgot my mental note to check out "that action movie with Gladiator." After seeing it in its entirety for the first time now, maybe I shouldn't have bothered after all.

Every terrorist's worst nightmare - Maximus with a gun.

Terry Thorne (Crowe) is a retrieval expert. He works as a hostage negotiator for a big insurance firm, handling all the money transfers to dangerous criminal groups and getting back his clients in one piece. As we see from the movie's terrific opening sequence, Terry isn't some paper-pushing desk jockey -  he's the real deal. He's sent to Chechnya to recover a kidnap victim, and thanks to his crafty ex-soldier ways, he double crosses Russians and Chechnyans, giving them empty bags of cash and setting them to fight each other as he makes his escape with the hostage.

You can't be a movie hostage without growing a sweet beard.

A brief switch of scenery and we're introduced to Alice (Meg Ryan) and Peter Bowman (David Morse), Americans living and working in South America. Peter is an engineer working for an oil firm, and his dam project has just been canceled, leading to some tension in the marriage as Alice wonders whether its time to return to the States. They don't argue for long though, as Peter gets kidnapped by guerillas the next day, and is taken far up into the mountains, and held for ransom.. Alice eventually gets in contact with Terry through the oil company, and together they begin to plan a way to get Peter back to safety. While her husband rots in the jungle and is tortured daily, Alice develops a thing for Terry (must be the accent, mate), which is apparently O.K., since we get some nice romantic music in the background to set the mood. Whatever.

Who the hell let Meg Ryan near an action movie?

Russell Crowe is, as always, watchable in anything. He's convincing as the ex-soldier and overall badass with a heart of gold Terry, and he carries the film with his performance. Meg Ryan on the other hand, does everything humanly possible to be the most insufferable character in the movie. Every scene she's in drags the movie down to soap opera levels of cheese, and it's tough to sympathize with her since she seems more worried about banging Russell Crowe than getting her poor bastard of a husband back safely. The romance feels forced, is uninteresting, and just slows down the movie when the movie really needs a jolt of tension. The few action scenes in the movie are well shot, especially the finale, which has one of the best commando raids on film and is the highlight of the movie.

Damn gringos! Always causing trouble.

It's really a shame that the movie focuses so much on the sappy romance between the leads when all it needed was a shot in the arm to get the juices flowing. This one had plenty of potential, which just goes to waste. With an interesting premise and a great star at the helm, it should have been much better than this. It had everything going for it and loses a lot of momentum in the middle of the film and the awesome action sequence at the end isn't enough to save the movie from being an average thriller lacking in the thrills department.

Best scene: The hostage rescue finale, with Terry and his crew wreaking havoc on the guerrilla camp in a realistic, vicious firefight as all hell breaks loose.

Best quote: Anytime Russell Crow abuses the word "mate" in his Aussie accent.

  TL;DR - Too much Meg Ryan and not enough action makes for a boring "thriller" - 5/10

HARD TO KILL (1990) - Classic Seagal revenge movie

As stupid as it may sound, I actually have a soft spot for Steven Seagal, as anyone who visits my blog would probably notice seeing as how I go out of my way to watch his flicks, which most people tend to avoid. Most of his films, okay... nearly all of his films rate highly on the crap factor, but in the '90s the guy had a decent enough run that ended with his biggest hit ever, Under Siege, which everyone seems to remember for the random topless scene rather than for its outrageous villains and good share of hilarious lines. Hard to Kill is probably his second best movie, and holds a special place in my heart for being my first Seagal flick. Aside from a truly terrible poster, it's really not that bad at all.

Mason Storm (Steven Seagal) is a badass detective working a major corruption case, and as the movie kicks off, he's snooping around a Mob meeting, trying to collect some evidence for an arrest. He gets video implicating some important government official ordering an assassination, but he's spotted and chased off. Storm calls his partner back in the office and tells him about what went down. Unknown to both of them though, two corrupt cops are on the other line listening in. Storm heads home, but not before managing to  interrupt a store robbery, beat four Mexican punks senseless, and pick up some champagne for the missus without breaking a sweat.

Family man by day, Aikido ass-kicking machine by night.

At home, he stashes the evidence he collected and gets into bed with his hottie wife. Displaying a very bad sense of timing, a bunch of goons bust through his bedroom door right as he's about to get some sexy time with the wife, and shoot them both, killing his wife and leaving Storm in terrible shape. They also manage to blast Storm's partner as well, and as Storm is wheeled into the hospital, he's pronounced dead. Storm is hard to kill though (get it, get it?), and has in fact fallen into a coma. Only one of Storm's friends in the department knows the truth, and keeps quiet about it.

Kelly LeBrock? More like... Kelly LeHot.

A few years later, Storm miraculously wakes up from his coma, no doubt motivated by the fact that his nurse Andy is played by the babetastic Kelly LeBrock. He pleads with the hospital staff to get him out of there, and soon enough word gets out of his recovery. The bastards who betrayed him realize he's alive and send more assassins to take him out. Storm has to save himself, and before long, he'll be building up his strength to kick some ass, save his long-lost son and get his hard-earned revenge. His main enemy is a well-known Senator, Vernon Trent (William Sadler), who has half the city's police department in his pocket and will stop at nothing to kill Storm once and for all.

Martial arts are good. Guns are better.

As usual, you get what you expect from Seagal movies. Acting should be the least of concerns in these, but aside from Seagal himself, everyone else in this one is pretty much terrible. Sadler plays a decent bad guy, and Kelly LeBrock is hot enough that it's easy to ignore the fact she cant deliver a single convincing line. The rest of the thugs are laughably bad, but truth be told it all just adds to the cheese factor that makes Hard to Kill a classic Seagal flick. The story is original enough that it stands out from most of the crap that Seagal has filmed over the years, and the action is top notch, with some memorable kills.

Open wide, pal!

Hard to Kill is definitely one of Seagal's best movies, even if it never quite matches the fun factor of Under Siege. It lacks a good, memorable villain, and is mostly predictable. It does have decent pacing, scattered comedy and classic Seagal action sequences which make for an entertaining movie. It's not high art, that much is obvious, but in the realm of manly, no-frills action films, it's good enough to merit a watch.

Best scene: Mason finds the guy who shot his wife, stabs a pool cue through his throat, and kicks him in the face while delivering his best line... (below)

Best quote: "That was for my wife! Fuck you and DIE!"




TL;DR - Not even a 7-year coma can stop Seagal from avenging his wife's death - 6/10

UNDER SIEGE 2: DARK TERRITORY (1995) - Seagal's back

I always had a soft spot for Steven Seagal despite all the crap he's gotten over the years about his poor acting and his refusal to cut off that stupid ponytail. His big break, which would also turn out to be his only really good action movie, was 1992's Under Siege. I loved that one as a kid, and it remains a guilty pleasure of mine. After the success of the movie, a sequel was inevitable. Unfortunately, Under Siege 2 lacks a lot of the stuff that made the first flick such a fun action movie, and was is mostly a rehash of tired ideas.

Family vacations are never dull when Seagal is your uncle.

Immediately after the opening credits, we see the Air Force is testing out a secret new satellite. After trying out the super high-resolution cameras by zooming in on a sunbathing chick's boobs, the generals seem pleased with their new weapon's abilities. Our hero Casey Ryback (Steven Seagal) has retired from the Navy and has decided to take his niece Sarah (Katherine Heigl), whose parents were killed in a plane crash, on a cross country train trip to take her mind off things. Of course things go terribly wrong, and a team of terrorists hijack their train almost immediately and start killing off passengers and crew. The gang is Travis Dane (Eric Bogosian), the guy who originally built the satellite and was later scorned by the government.

Dane - one of the most boring and most annoying villains of the 90s.

After faking his own death, he now plans to blackmail the government with his satellite baby. It turns out that the sat is in fact a space weapon capable of creating earthquakes, and Dane shows he's the real deal by starting a quake in China. The government is helpless since as long as the train is mobile, they can't track Dane's signals. Fortunately for America and the good guys, Casey Muthafucking Ryback is on the train, and he won't be having any of Dane's shenanigans. Casey takes it upon himself to make sure that he rescues his niece and delivers some much needed punishment to the terrorists.

The albino henchman was a nice touch. Note the bad guy from The Mask behind him.

As far as acting is concerned, with Seagal you get what you see. Every line is delivered in his trademark half-whispered style and since he does most of his talking with his fists, it's not all that bad. After watching this movie, I'm convinced that Under Siege 2 is Katherine Heigl's most memorable work, since just about everything else she's done is even worse than this flick. As far as ass kicking is concerned, Seagal delivers as usual. He stabs, shoots, throat punches, chokes and groin kicks legions of terrorist baddies without breaking a sweat or ruffling his ponytail.

Look closely: that's Seagal face-kicking a dude off a moving train.

He delivers an impressive amount of violence and some memorable kills. My personal favorite being during the finale when he shuts a helicopter door on an unlucky S.O.B. hanging on for dear life, slicing off his fingers as he falls into a blazing inferno below. Classy stuff. And speaking of bad guys, Dane's crew is a real bunch of assholes. They happily murder anyone they see fit, and do evil things like tell crying babies to shut up, throw people off of moving trains, interrupt sex scenes, and even shoot a guy's boom box. Dane himself isn't really a memorable villain (aside from the fact that he sounds like Tom Bergeron), which is a shame since the first movie had the great Tommy Lee Jones and Gary Busey villains.

Epic Seagal finishing movie incoming.

The dialogue is laughably bad at times, and most of the movie's attempts at one liners fall pretty flat. The movie's only saving grace is the fact that Seagal lays down some serious ass kicking throughout the movie. Again, nothing really memorable, but it's passable. You can't really say the same of most of Seagal's later movies. Compared to some of those, Under Siege 2 is a gem but that's not saying much. Stick with first one.

TL;DR - Typical Seagal action but without the first one's fun factor - 5/10

THE ENEMY BELOW (1957) - Awesome naval war flick

 

The 50s was a great decade for war movies. With WWII still fresh in people's minds and the easy pickings for villains (everyone hates the Nazis), the studios churned out tons of war movies. A lot of them were crap, but thankfully there were some real gems in the mix. The Enemy Below is one of them. I'd say it is the best submarine movie ever made aside from 1981's Das Boot. The setting is the Atlantic Ocean as the Second World War rages on and Nazi Germany's dreaded U-boats are sinking American ships at an alarming rate. The fate of the war rests in the hands of the Allied sailors as they fight a brutal naval war against Hitler's deadly submarines.

Filmed aboard real subs and ships and with real bombs going off. Awesome.

The destroyer USS Haynes is alone in the vast Atlantic and on the prowl, looking for Hitler's submarines.  Aboard the Haynes, the bored sailors go about their daily tasks and complain about their lack of combat action. Everybody wants to get their chance to hunt some Nazis down. Rumors spread about the ship's new captain, since some of the men are worried that the skipper Captain Murrell (Robert Mitchum), an ex-reserve officer whose last ship was torpedoed, might not have what it takes to lead the ship. Suddenly, the sonar room detects an unknown contact. Fearing that it might be a German sub, Captain Murrell is brought to the bridge.

Robert Mitchum as the smart and determined skipper.

Below the water, a U-boat silently stalks the the destroyer. Commanding the sub is Kapitan von Stolberg (Curt Jürgens), an experienced and battle-hardened man with nerves of steel. Von Stolberg is a veteran of World War I, has lost both his sons to the war, has no love for Hitler or his cronies, and has become disillusioned with the war and the state of his beloved Germany. Nonetheless, he is totally committed to ensuring that his men come home safely and complete their grim mission. He is Captain Murrell's worst nightmare - a master at tactics, fearless, and an overall cool cat.

Sneaky Nazi bastards...

A tense, dangerous game of cat and mouse begins as the Americans try to pin-point the location of the U-boat, while the Germans do their best to avoid being blown to bits. The hours turn to days as the two captains out fox each other in their desperate attempts to gain the upper hand. The morale of both ships begins to suffer from the tension of the deadly game of hide and seek, as the U-boat tries to hide from the American sonar and dodges the endless depth charge barrages, and the American frustration grows as the Germans refuse to give in. Some of the best scenes in the movie don't need explosions to create excitement. They come from the thrill of the chase, as both crews plan and pull off their attacks and react to their enemy, knowing that a single mistake will likely end up killing them.

A likable German in a WWII movie? Say it ain't so!

Filmed in the good old days of practical effects and with the Navy's help, The Enemy Below boasts some impressive action scenes. As the Haynes bears down on the Germans, they rain down murderous depth charge attacks on the Nazi sub. These scenes are filmed with real depth bombs going off, while the underwater scenes are convincingly done with models that hold up pretty well even today. The acting from Mitchum and Jurgens is top notch. They're both great at portraying the reluctant but determined hero types, and aside from some sappy, emotional scenes at the end, they mostly eat up the screen.

This will not end well.

The Enemy Below is a damn good war movie, and despite the ending, which I found to be a bit too sentimental, it's got plenty of thrills and holds up well as an action movie even today. It set the standard for all the other naval combat movies that followed, and newer flicks like Crimson Tide, U-571 and Hunt for Red October all draw from it. Mitchum and Jurgens are in top form, the action scenes are realistic and it has a sense of realism that was untouchable until the definitive sub movie of all time Das Boot came out decades later. A true classic.

TL;DR - Riveting, epic battle between Nazis and Americans on the high seas - 9/10

ALIEN VS. PREDATOR (2004) - Making aliens boring.

I remember the first time that I was genuinely scared out of my wits by a movie. As a 12 year old, I'd already seen all sorts of scary movies, but there's only so many times you can see a masked guy slashing teenagers before it loses its shock value. Then I saw Alien one night on cable TV and even with my dad sitting alongside, Ridley Scott's masterful horror flick scared me shitless. I also remember the first time I saw Predator, and as a 4th grader, seeing Arnold and the Predator beating the crap out of each other blew me away. Both of these were classic movies with great creatures, and it's no wonder that they've spawned several sequels. It's too bad that aside from Aliens, none of the sequels even came close to matching the greatness of the original movies.

Nothing is sacred anymore.

The imaginatively named Alien vs. Predator opens with  millionaire industrialist Charles Weyland (Lance Henriksen) putting together a team of scientists to investigate a subterranean pyramid structure detected under the ice on an Arctic island by one of his satellites. Weyland hires Woods (Sanaa Lathan) to serve as guide for the team, who reluctantly accepts the offer. They arrive at the location and find a bunch of abandoned buildings, and to their amazement, a huge shaft drilled into the ice at a perfect 30 degree angle. Unknown to them, the hole was blasted into the ice by a Predator space ship orbiting around the Earth, as the creatures get suited up to join the party.

Where's Ripley or Dutch when you need them?

The humans soon realize that the pyramid is in fact an ancient temple used for a Predator hunting ritual. Every so often, the Predators would visit Earth and hunt aliens and whoever else was stupid enough to go inside the temple. They must try and make their way out of the pyramid and ensure that none of the aliens reach the surface, while at the same time avoiding the Predators. If the story sounds supremely retarded, well... that's because it is. Directed and written by Paul W.S. Anderson, the guy who butchered the Resident Evil franchise and made maybe one good movie, means that AvP was doomed from the beginning. It's plagued with bad dialogue and worst of all, weak action. There are a few good parts, but unfortunately most of them are lines or ideas lifted right out of the original flicks.

At least the Predators are still badass...

If you're going to make a movie with forgettable characters that nobody cares about, then it better have some great action to make up for it. In AvP, every action scene was apparently filmed on days when the guys who set up the lighting were off drinking at the pub. They're dark, muddled, and it's just about impossible to see the action clearly. All those neat, well-detailed creature designs and the expensive sets are wasted thanks to the shitty camera work, with shots that are either too dark, too close up, or cut too quickly. That being said, the aliens and the Predators are very well done, with smooth CGI and the always cool Predator heat vision being used to good effect. There's obvious production value in these areas. As cool as the creatures are, there really are no scares in the entire movie except for some cheap jump scares. The attempts at creating tension are laughable, most of the acting (aside from the great Lance Henriksen) is piss poor, and the ending left me wondering if I should laugh or cry at its cheesiness.

...never mind.

Alien vs. Predator has accomplished something very difficult in the world of movies. It's not that it managed to kill not one, but two great franchises with its ridiculously stupid premise and crap execution. Oh no. Even worse. It made two of science fiction's most exciting series seem boring and dull. The film's only saving grace is that it runs a merciful 100 or so minutes and that we get to see Predators killing off nearly the entire cast of dimwitted characters. From now on, I'll pretend these stupid versus movies were never made, and just watch the originals instead. Spare yourself the time and forget this movie.

TL;DR -Boring, inane mash-up that will ruin your childhood memories - 3/10

HANNA (2011) - Killer girl, killer soundtrack.

Hanna (Saoirse Ronan) is a teenager living in a remote cabin in the secluded Finnish forest with her father Erik Heller (Eric Bana). She spends most of her days doing ordinary kid things like training to become an assassin by hunting deer with bows and arrows, gutting said deer with her bare hands, engaging in hand to hand combat with her father, target practice with pistols, memorizing fake life stories, and learning about a dozen languages. Hanna has spent nearly her entire life living there, away from the real world and any sort of technology. The only real piece of technology she comes into contact is a radio transmitter which her father presents to her, explaining that once it is turned on, a CIA agent by the name of Marissa Weigler (Cate Blanchett) will learn of their location and come to find and kill her. He warns her to only flick it on when she feels ready to face the challenge.

Forget Barbies... Hanna enjoys gutting deer with her bare hands.

Hanna finally decides she is ready, and flicks on the transmitter. Erik reluctantly agrees, suits up and leaves for Germany, knowing that Weigler will soon send a commando team to seize them. Hanna is captured later that night, and interrogated at a special facility in Morocco, where Hanna kills one of Weigler's body doubles and escapes. We learn that Erik Heller is a rogue CIA agent, and that that Erik has been training his daughter for all these years to murder Weigler. She hires a team of assassins to track her down and kill Hanna, who is now hitching a ride across Europe with the family of a girl she befriended. As the assassins bear down on her, Hanna will discover some unsettling truths about her family, her father and Weigler, as she finds out more about who she really is.

Cate Blanchett as a murderous CIA agent is some inspired casting.

One of Hanna's main strengths is the quality of the main cast. Saoirse Ronan is just fantastic as the deadly yet naive girl who is slowly discovering the world she's been sheltered from for all those years. Imagine Natalie Portman's Mathilda in The Professional, but with an unhinged, savage edge. Hanna wasn't taught to be an assassin, she was born one. It's not an easy sell to make her character convincing, but she does a great job of it, and outshines every one else in the movie, even Cate Blanchett who I thought was surprisingly good in her unusual villainous role. The much advertised score by The Chemical Brothers is just fantastic as well, making scenes like Hanna's prison escape (an awesome scene, by the way) explode with urgency and tension.

The chase at the docks is one of the best in the movie.

Hanna is at its best when sticking to pure, unadulterated action. For all of its faults in other areas, Hanna shines with its crisp fight choreography, which shows an obvious attention to detail in several of the action scenes. By far my favorite scene in the movie is one in which Eric Bana's character is followed by several CIA operatives into an empty underground lot, where he is cornered. He instinctively and quite brutally disarms all of his opponents with lightning quick hits and coolly dispatches them before walking away. The entire scene is shot in one continuous take that runs for several minutes, and with the intense score pumping away, it's easily the most thrilling set piece in the film. Another stand out is a nighttime chase and fight scene in some Spanish docks, as Hanna leaps from one container to another while she pummels and stabs baddies left and right with cruel efficiency.

By the end of the movie, Hanna racks up an impressive body count.

It's disappointing then, that Joe Wright distracts himself so much with trying to make a visually distinctive movie that he forgets that the core ingredient of an action movie is action and story. Hanna has too little of both. We get only tidbits of background story about the characters. By knowing so little about them, it's hard to relate and care for anyone. What precious little action there is is at times ruined by the use of that damned shaky camera work that directors are so fond of these days. If you've got a gorgeously photographed and well-executed fight scene, why spoil the fun by making it nearly impossible to see what's going on? Not every movie has to be Cloverfield or Battle: Los Angeles. Wright has a talent for making beautiful films, and Hanna has some amazing views, but the dizzying camera movement during action scenes is distracting and detracts from the experience. At least it's got a bitching soundtrack.

TL;DR - Nicely shot, fast paced and with a killer score, but lacking in the action department - 7/10