Pronounced "for-BID-'n SUB-jects." The ninth joint effort of Charles Bronson and director J. Lee Thompson is an improvement over their norm only marginally. If that. For one thing, Bronson either has undergone some fine-tuning of his latest face-lift or else is overdue for his next one, but in any case he looks much more like his old self, less like a Halloween plastic mask of himself. And the action scenes have been carefully and considerately staged (closeup of fist digging into rib cage, etc.) to disguise the fact that Bronson is well past mandatory retirement age for even County Dog-Catcher or high-school math teacher. And where we can usually count on one well-constructed scene in their movies (most likely the opening scene: the bad dream at the start of Death Wish IV, the mass murder in Messenger of Death), here we get a whole two: the discreetly off-screen but fully queasy-making violation of a kidnapped Japanese schoolgirl (or maybe it's just the tilted camera angles that are queasy-making); and the climactic action scene with a runaway crane wreaking havoc like The Giant Claw. (1989) — Duncan Shepherd
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