Friday, 16 June 2017

Jaguar Lives (Ernest Pintoff, 1979)

Secret agent Johnathan Cross AKA Jaguar is double-crossed on a mission and severely injured. Once recovered he is sent on a globe trotting mission to hunt down an evil kingpin. This vehicle for Joe Lewis, a martial arts champion and student of Bruce Lee, tries to emulate Bond movies while livening them up with a little martial arts action and manages to miss the mark on both counts. That is not to say it doesn't try - by god it tries.

What surprised me most on first viewing is how much money had been spent on a kung-fu flick I'd never heard of. The opening sequence features a gorgeous location, a shoot-out on a cable car/elevator and a pretty impressive explosion achieved through some unusually great miniature work.

In fact the production value is consistently good. The cast is exceptional and includes Christopher Lee, Donald Pleasence, Barbara Bach, John Huston, Woody Strode to name but a few. It is no coincidence that many of the cast have been picked due to their association with Bond. The movie tries to out-do Bond at every stage featuring some nice stunt work and about a thousand different exotic locations. So how does it fail?

Having more locations than your average Bond movie is one thing, but cramming them into one narrative organically is pretty difficult. And so instead of a developing, escalating spy story we have a plodding travel diary as Jaguar visits a location, meets a guest star, maybe has a fight then moves to the next location. Each of the stellar cast mentioned only get a few minutes screen time before giving Jaguar the info he needs to zoom off to the next location. A pretty repetitive beat quickly forms making a fairly manageable running time seem like an eternity.

This might not be so bad if every location visited had a themed action sequence but this is a movie that commits perhaps the biggest action film sin: not enough action, and what there is doesn't really work. Joe Lewis has skills, clearly, but each fight is so short he never gets the chance to show off anything more than a few kicks. A stunt involving Jaguar hanging on to the top of a speeding car starts exciting but ends not in a spectacular crash or a fight, but simply with the driver getting away. A stand-off in a factory promises the sight of Lewis taking on an army of workers but after a few kicks he scurries over some boxes and gets away. The fights are indicative of the movie's key problem: rather than sticking with something and exploring it, it shows us a glimpses then races off to the next thing.

That is not to say there are no notable moments. Jaguar fighting two guys on motorbikes is inventive if not extensive, a graveyard gauntlet works if only because after each short fight is over Jaguar walks right into another one and the final fight atop the turrets of a desert fortress looks great and if it were matched by choereopgraghy could have been an all-time iconic martial arts sequence.

Lewis doesn't have Lee's charisma (who does?) but is no worse than Chuck Norris. It's clear though the Producer's felt he'd need some help making a splash so they surround him with locations and stars. The end result, though, is that rather than elevate him they drown him out.

The film also suffers from being entirely devoid of vibe. Just thinking how fucking COOL Enter the Dragon is. This movie is the equivalent of a pastel sweater tied-off around the shoulders.

Lewis got to make a few more movies. Force: Five, directed by Dragon's Robert Clouse is better in many ways. He's supported with other martial artists, such as Richard Norton and Benny Urquidez and although it is basically an inferior re-tread of Enter the Dragon it is a far more successful action vehicle for its star. If only that movie had this movie's budget.

Or, better still, if only this movie showed off its star more than its passport and casting agent.

Thursday, 15 June 2017

Icons of the Overlooked #16 John Saxon

John Saxon is a constant; a perpetual cross-generational presence in Western cinema. He is an actor that manages to maintain a consistent onscreen persona while displaying great range through under-appreciated subtlety. Despite this he is still only known as a cult actor. And that's bullshit.

His list of TV credits, for starters, is incredible. Think of any iconic American TV series, from Gunsmoke to The A-Team, and he's probably had a part in it. When you include film into his resume, Saxon has had a career that started in 1954 and that still hasn't ended yet (a release in 2017, two more in various stages of development). That's incredible! He's worked with people like Corman, Argento, Craven, worked across genres and continents (he shows up in a lot of Italian movies) and has played pretty much every kind of role you could imagine.

Enter the Dragon is arguably his most iconic role. Saxon's Roper is a charming rogue, saddled with debt but never morose about it. He's a shark, always moving and utterly lethal. He exudes machismo and yet subtly undercuts it resisting the temptation to take the easy route and go full Eastwood. The scene in which he deliberately gets knocked on his ass to work the odds in his first fight is played perfectly. Roper is, perhaps, Saxon's ultimate role - the sum of his parts, the distillation of his on-screen presence. He could have easily repeated this role in a string of cop/action movies but so many times Saxon avoids the easy or expected route.

Saxon has suppressed his charisma to play full-on villains several times, most notably in Battle Beyond the Stars and Prisoners of the Lost Universe. Saxon seems at ease menacing subordinates, grimacing as plans are foiled and generally chewing scenery. Saxon appears happy to play antagonist or protagonist in equal measure, yet his villains aren't always unconventional.

Italian sci-fi action movie Hands of Steel, for example, is a pretty disposable Terminator inspired cheapey about a killer cyborg who goes rogue and holds up in a dustbowl diner. Saxon plays the villain and entirely lacks compassion and empathy. He really is a tough, evil bastard in this. At least he is right up until the final scenes when he eventually comes face to face with the cyborg hero and realises he has no chance. He immediately becomes a cowardly figure bargaining for his life. Saxon turns on a dime and yet as big a shift as it is it never feels jarring or abrupt. It is not only a skill-full transition but a bold movie for an actor associated with tough-guy roles.

This character transition is also evident in A Nightmare on Elm Street. He plays Lt. Thompson, an overly strict and controlling Father figure perfectly setting himself up not so much as the villain but as an antagonist to the heroine of the piece. When the truth about Kruger, his demise and Thompson's role in it becomes clear Saxon sells his motivations for his character's controlling nature so that you may not agree with his methods but understand them unquestionably.

Saxon's ability to generate empathy for his characters is masterful and key to getting more unorthodox and/or morally questionable characters to work as protagonists. The Glove, for example, is a movie with a killer exploitation premise: Upon release an ex-convict plans to take revenge on the wardens that abused him by beating them to near death with a stolen armour-plated riot glove!

The movie doesn't quite live up to the promise of its concept and for the most part feels like a pilot for a TV show (both in production value and aesthetic). The opening moments, where Saxon's bounty hunter gets into a fist fight with a same-sex couple doesn't present the most measured portrayal of homosexuality. As the movie progresses, however, it's clear there's something much more interesting going on.

Saxon's bounty hunter, Sam Kellog, is by no-means a ruthless or indestructible force but a real human struggling to make ends meet. The above fight aside we rarely see Kellog throwing dudes through windows or beating up punks in alley ways. Instead we see him tracking down an old lady who embezzled some money and letting her go with enough to cover her trip out of the city. We see him building leads from sources both inside the force and out and, most importantly, we see him spending time with his daughter. You see a recent divorce has left him in serious debt and with a daughter he is at risk of loosing altogether. As a result he is forced to take on sightly riskier jobs like, I dunno, hunting down a hulking ex-con with a riot glove.

What adds even more depth to the movie is the treatment of race. Our ex-con is a huge and intimidating black guy but is never portrayed as an outright villain. When not dressed in riot gear we see him going about every day business in his run-down tower block, buying groceries, chatting with neighbours and playing music for the local kids. Every time we cut to him we see a community, when ever we cut back to the white people we see greed, gambling, corruption and betrayal.

Kellog is desperate for money to give his daughter the life she needs and is defeated at every chance. He is down trodden and barely surviving. He is not even given power through violence as when he does open fire and kills a bounty it leads to an investigation, shakes him up and ultimately adds more obstacles to him getting that big score. Very unusual for a 70's crime thriller.

The finale, where Kellog dukes it out with the glove wearing badass, doesn't play out how you'd expect. There is clearly a social conscience and sensitivity at play here and although there are still some problematic elements the movies feels like its heart is in the right play. This is primarily due to Saxon imbuing Kellog with sadness and determination. Despite being a man in a violent world who gambles his money away you cannot help but sympathise for him.

So why Saxon is still seen as a cult actor is beyond me. There was real mainstream charisma backed up with genuine acting ability and a willingness to play against type.

On a side-note I think he would have been great in any number of super-hero characters. Doc Savage, The Punisher, Wolverine, Nick Fury - he could have played any of them perfectly.

John Saxon is a frigging treasure, a joy the moment he pops up on screen and a vastly underrated actor.

Tuesday, 16 May 2017

Everly (Joe Lynch, 2014)

Die Hard has spawned a great number of offspring featuring any combination of sealed-off locations and wrong time/place dudes with a secret talent for anti-terrorism. Although Everly contains some of the same DNA as Die Hard, right down to the Christmas setting, it is by no means your average child. If Under Siege and the like are the Sawyer family, Everly is Leatherface.

Everly (Salma Hayek) is trapped in the apartment of a Yakuza boss, forced to be his lover through fear of reprisal on her Daughter. When it is discovered she has made contact with Police the boss sends waves of assassins after her. As the threat escalates Everly must find a way to get herself and her family out of the apartment and to safety.

Everly begins in the immediate aftermath of a gruelling sexual assault. It is a tough place to start a movie and with a cinematic landscape full of abused women it is easy to feel a little distanced from the proceedings right from the opening. It is that landscape that is the issue more so than the treatment of the assault itself. Unlike many rape revenge movies this does not fetishise the act. The assault itself happens before the film starts meaning our titular character gets out of victim mode and right to the revenge part as quickly as possible.

It's clear Lynch isn't interested in cheap voyeurism not just by having the assault take place off screen but by his treatment of Everly's body and costume. Normally a character finds themselves losing both clothing and, depending on the severity of the action, flesh throughout an action movie. Although this stands to reason (explosions tend to damage clothes) it does mean that action movies often function as some perverse striptease with finely honed bodies getting more naked and sweatier as the violence escalates. In this case, however, Everly starts the movie completely naked and adds layers of clothing as the movie goes on. Sure, she gets her fair amount of damage, but the gradual adding of layers shows a systematic conditioning after the awful event that preceded the movie. We literally see Everly build her armour in front of us.

Filming around the sexual assault, so that we have effect more than cause, is by no means a cop-out or lack of conviction but a consistent aesthetic. Although the film never shys from the grotesque, the camera often parks on the outskirts of action. Characters vanish round corners or into doorways only to expel clouds of smoke and debris from within. Explosives are flung out of shot and broken bodies flung back in response. One especially satisfying set of kills happens behind closed doors while the collateral damage is viewed through security cameras.

All of this is risky for an action movie and, attempted without skill, could be disappointing. I imagine there are many explosion hungry action movie lovers who might feel a little malnourished. Director Lynch's expertise in knowing how to block, frame and cut this kind of action means that it is beautifully rendered. The timing of the sequences is razor sharp and manages to be both brutal and very funny in equal measure.

And it is nowhere near as risky as the utterly insane middle segment of the film. I don't want to say to much as you'll get some pleasure out of wondering what the hell is unfolding in front of you but I don't think I'll be leading you astray if I tell you it kind of feels a little like Big Trouble in Little China played as straight horror.

When you have a single character in limited locations you need a real talent to hold it all together. Hayek is incredible in this movie. She walks a precision line allowing her to play vulnerable and badass while reacting to brutal reality and almost cartoonish absurdity without ever feeling inconsistent. She has a real Pam Grier vibe throughout and I'd love to see her in more of these kind of roles.

Everly might leave your more traditional action fan cold as it is far from conventional. Yet for a movie that takes so many risks, not just in the more bizarre moments but in the very meddling with action vernacular, it features action that puts most competitors to shame.

Total Cults Podcast #113: Alien

The Robo-Warrior Trilogy: Counter Destroyer (Edger Jere, 1989)

So here we are; the third in the unofficial Robo-Warrior Trilogy. The climactic act at the end of an upward trajectory of quality and oh dear it's shit.

Counter Destroyer has some things going for it. Counter Destroyer is a cool title even though it sounds like it's about someone who doesn't like losing at boardgames. It is consistent with the other entires in the series in that with the exception of hopping Jiangshi there is nothing that connects any of the movies whatsoever.

And for most of the running time that's all the good you get.

Even with the series lack of canonical elements this movie stands all by itself. The first two both featured hopping vampires wrapped up in a heroin plot and going toe-to-toe with a robotic warrior. From what I can tell this film features no heroin dealers. It also doesn't feature a robotic warrior.

Yes, I am sorry to report that the finale of the Robo-Warrior movies does not actually feature a robotic warrior, for the most part. There is a man called Paul (different name as the Robo Warrior from the second movie) who at one point dons a white ninja outfit and fights some vampires but this doesn't happen until 38 minutes into the film and at no point is it suggested he is robotic in anyway.

Not only does this feel like a massive cheat it also messes with my OCD. Since this now features a ninja this should have gone into my Ninjas, ninjas, ninjas! articles. It would, however, be weird for the final review of a three part film to be written in a different format and placed in a different section of the site. For all this movie's crimes messing with my system might be the worst. Fuck you Counter Destroyer, why didn't you consider the eventual organisational nightmare you would cause me when you made this film in 1989? You're a dick.

So without robotic warriors and heroin deals what is left?

The exhilarating plot seems to revolve around rival film companies trying to produce the same movie about the first Emperor of China. As always it seems at least two movies had footage culled to make this Frankenstein of a film. The first seems to be a cops and robbers drama while the other is a haunted house movie. Those holed up in the house are the screenwriters while the heroic production company go up against the evil rival company in the crime drama section.

I don't know if the evil company are using the movie as a front for something as (full disclosure) I quickly stopped concentrating. They do, however, employ vampires and ghosts to terrorise their rivals and the whole mess is sorted out in a yacht-set shootout. I'll admit to not having any first hand experience of the Chinese film industry but I have to assume this is anything but conventional. Could it be a razor sharp satire, extending the cutthroat nature of the movie business to its logical, if absurd, conclusion? No, no it couldn't.

With that section of the movie a complete abyss of entertainment in falls on the supernatural element to hold our attention. This also fails us.

Joyce, our screenwriter, and her assistant Fanny (I think) cut themselves off in a lush apartment to write their film. Here they are beset by supernatural occurrences such as the appearance of goofy, comedy Jinagshi and a Freddy-like clawed creature.

It appears neither actress are at the top of their game and coupling this with some of the worst voice acting I have ever heard results in almost unbearable exchanges. Even calling out a name three times seems weird and otherworldly, like a robot programmed to mimic human behaviour having a systems crash. The dinner and pool sequence are nicely lit and shot with some degree of technical competency but it's like the cast and crew have never seen human beings interact. It also doesn't help that the voice actors don't understand silence. When not talking they still make grunts, sighs and heavy breathes so that every moment their character is onscreen they are making noises. This has the unfortunate effect of making them sound like they are always on the business end of some kind of sexual stimulation. These scenes are so awful they are actually worth a look.

The whole movie is a void of enjoyment, a gaping whole where entertainment should be. A total waste.

And then it suddenly gets good. You see I've been misleading you slightly, not out of cruelty but to help you experience the movie's final reveal in the same way that I did.

Ten minutes before the end of the movie and with the plot seemingly wrapped up in a lacklustre exchange of gunfire we rejoin Joyce. Paul comes to see her to find She has killed Fanny and that her arm is possessed; Evil Dead 2 style. Paul battles with her and strikes her down only for the claw-hand creature that was possessing her to leap in corporeal form. Paul spins in a circle, as if on a turntable, and transforms into...

The mutha-fuckin' Robo Warrior. The dude shows up, out of nowhere, ten minutes before the movie ends dressed in his previous outfit - weird foil moobs and odd pointy shoulders and all. I genuinely wanted to cheer. The movie had successfully manipulated me, had played the long game and built anticipation for the return of this character. It had revealed to me that I had a secret fondness for this goofy robot dude and seeing him back on screen warmed me in a way I wasn't expecting.

Then I though that even a glass of piss would taste great to a man lost in the desert for weeks.

While Robo Warrior and creature fight it out, the goofy comedy vampires return to nibble on Joyce. As they do her stomach swells and bulges until it explodes, launching a full-grown child Jiangshi into the air. This child then berates the two comedy vampires for killing his Mum and starts to beat them up before hovering on the ceiling and pissing all over them. I promise I am making none of this up.

Robo Warrior defeats the creature and since the comedy vampires and child are good, or something, he lets them go. They bury Joyce and then the claw hand bursts out of the grave like Carrie. The End.

Counter Destroyer is by far the worst of the series even considering the low bar set by Devil's Dynamite. Ninja magpie Godfrey Ho worked under many aliases and has been rumoured to be the actual Director of the series, yet even he denies having anything to do with this shit. The first movie has an okay fight towards the end, the second is the usual brand of B-movie with some pleasant moments of bat-shittery and while the last ten minutes of Counter Destroyer is delightfully mental the only other moments worth a look are the aforementioned god awful dialogue scenes. Considering at least six movies were plundered to make this series, one movie and handful of scenes doesn't seem like a great return on the investment.

I'm now going to stare into a mirror and question why I do this to myself.

Sunday, 7 May 2017

The Robo-Warrior Trilogy: Robo Vampire (Joe Livingstone, 1988)

I continue my descent into the self inflicted chore that is the Robo-Warrior Trilogy. The second in this unofficial series is Robo Vampire, a movie that is significantly better than its predecessor in every possible way. That doesn't make it a good movie though.

The opening sequence is promising. A couple of soldiers march what I assume is a POW into a derelict jungle town only to be set upon by those hopping mad (*takes a bow*) Jiangshi. The location is detailed and evocative, the violence nicely handled and the leaping vampires aren't just painted cyan but actually caked in rotting flesh make-up. Liberal use of a smoke machine instantly adds production value and the beautifully weird detail of the vampires breathing puffs of smoke when then hiss evidences some thought has gone into this sequence. It feels very much in line with Italian zombie movies, even more so when the vampire doesn't just suck his victim's blood but rips a mouthful of meat out of his throat.

We then join a criminal gang who, as seems to be convention in this series of movies, wants to train vampires to help their heroin pipeline. This leads us to the mystical lair where the vampires are trained. This location again features atmosphere and strong make-up effects. It also at this point that the film got away from me a little.

I must confess the film wasn't holding my attention 100% but I expected some smoother transition to a sequence where a Chinese wizard fights a female ghost in a see-through dress in an alley way. The two supernatural combatants fly around the alley attempting to magic the crap out of each other leading to one move where the wizard slides backwards across the floor leaving a trail of sparks and fire from his feet like Back to the Future's Delorian. I think the female ghost is the deceased wife of the lead vampire and I'm pretty sure they reach a truce at the end of the scene. To what end I'm not sure.

Doesn't matter because we suddenly find ourselves in a forest in a battle between drug runners and soldiers who loose the battle due to the appearance of the Jiangshi. One of the soldiers is mortally wounded and back at their base a difficult decision is made regarding the fate of their downed colleague:

So how's Tom?

It was a fatal wound. He's dead.

The soldier bows his head in sadness and sighs.

Since Tom's dead I'd like to make use of his body to make an android-like robot.

Following this tender and moving moment we get a montage of them building a robot solider. Since this appears to the the origin of the Robo-Warrior I'd imagine this movie is a remake of its first film a la Evil Dead 2. Please note this is merely my attempt to make some narrative sense of what we are seeing as this is by no means an actual coherent series of movies. The people making them can't establish a canon from scene to scene so to expect them to carry a through line from movie to movie is maybe asking a little too much.

The new Robo-Warrior seems to have had more effort put into his outfit though I would not say it is a better costume. It looks like he's had a bunch of pillows spray-painted silver and taped to him. It's awkward and wobbly and far more restrictive than the previous outfit. It is, however, far more derivative of Robocop both in the way he moves (a jerky robot movement) and the treatment of his voice. He doesn't do any martial arts either just shoots things with a very large machine gun.

From this point on the movie is a bit of a blur. Characters are introduced and dispatched without any real sense of who they are. There is a kidnapping and rescue plot, lots of fairly competent shoot-outs, a gorilla-faced vampire that shoots fireworks out his arms and in the finale the female ghost returns, whips her top off and fights the wizard to the death.

If this movie, like its predecessor, was spliced from a number of disparate movies it is far more difficult to pick apart the separate pieces. I guess that is a good thing? Either way it still makes very little sense. It's better looking, gorier and the horror and fantasy elements work quite well though.

If this arc of improvement carries through to the final film of the series then I might be in for a fairly accomplished B-movie mash-up. I have high hopes*

*Spoiler alert, I have already seen the third movie at the time of writing and it's fucking bullshit.

Saturday, 6 May 2017

The Robo- Warrior Trilogy: Devil's Dynamite (Joe Livingstone, 1987)

When you have watched and written about so many B-movies you can become numb to the lack of basic craftsmanship that constitutes the minimum expected competencies of a feature film. To prevent bars being permanently lowered it is sometimes needed for a film to come along that is so poor it jars you out of your malaise, reminding you that there are indeed acceptable standards a movie should achieve. Devil's Dynamite is such a film. I shall now valiantly try to recount the plot of this movie:

A criminal gang has conjured a bunch of vampires to help enforce their drug operations while an ex-gangland boss tries to marry out of the criminal life only to be dragged back in by the reappearance of a newly released criminal mastermind. Also, throughout this movie a man dressed in a silver jump suit and foil neckerchief appears and fights the undead creatures. I think he is supposed to be the hero.

This is movie is so inept I have watched the entire thing and cannot tell you the name of the hero, what he is, why he does what he does, whether he succeeds or what happens to him after he has disappeared.

I can tell you the name of the mysterious mastermind though. Like Keyser Soze he is a myth among criminals. His return to the criminal underworld much anticipated and his name is on the lips of every low-life and gang member. A genuine sense of anticipation is created proceeding his appearance on screen. This build up is the first successful piece of storytelling in the film and merely requires the reveal of an imposing figure to stick the landing. The name of this criminal boogey man? Steven Cox.

So, in short, Steve Cox is back, he is upset about his old flame marrying some guy and a tinfoil Biggles fights vampires. Beyond that I not only failed to comprehend the story but at times genuinely wondered why someone pointed a camera at the thing I was seeing on screen. In fact the movie's main assets were some of its baffling choices.

The movie features Jiangshi, or Chinese hopping vampires. These goofy dudes are always welcome on my screen and the ones in this movie look fairly good. Early on they are pitted against a bunch of shadow warrior ninjas, who they beat with ease. It would have been nice for the ninjas to stick around a little longer but at least they are replaced by our crazy silver friend.

This movie is part of the semi-official Robo-Warrior Trilogy which clues me into the fact this guy might be some kind of kung-fu robot super hero. This is never even mentioned in the film though; the guy literally just appears and disappears in puffs of smoke.

This is a Chinese action movie and as such the fighting on display is above average. It's no Shaw Brothers movie but the final fight scene does, in all fairness, contain some decent choreography and stunt work. It does also feature a moment where a wizard (I think) puts a small, child-like drawing of man on the back of a weakened Robo-Warrior, causing him to moonwalk and do the robot while fighting the vampires. At one point the drawing of the little man appears on his fist and when he punches a vampire with it the vampire explodes. I cannot explain this series of events.

There is a fabulous edit from a gaping eye-wound to a mid-ceremony wedding that is a piece of editing second only to 2001: A Space Odyssey and any wedding that features the bride yelling "don't threaten me you little piece of shit" down a phone in the middle of the wedding march before continuing the ceremony as if nothing has happened gets my vote.

It is also worth noting there is no dynamite in this movie.

If I were a betting man I'd lay money on this being two different movies (one a crime melodrama, the other a superhero/vampire fight movie) being spliced together with some clumsy dubbing to tenuously link the two clearly unconnected narratives. This wasn't an uncommon practice as those familiar with Godfrey Ho will know. It is also therefore very likely the title was plonked on just because it sounded good. Whatever the case this nonsense tested even my patience and only gets a pass for legitimately baffling me at times.

Despite a shocking lack of storytelling and basic common sense another movie was made featuring a similar subject matter and characters and thus the Robo-Warrior Trilogy began.

Obviously I'm going to watch the other two.

Friday, 5 May 2017

Icons of the Overlooked #15: Michael Ironside

How did it take this long to write about Michael Ironside? This seething ball of gruffness has been a staple of genre movie making at all ends of the budgetary scale. He would often pop up in movies and frown at the good guys but don't be fooled: that famous sneer is merely a shark's fin; an extension of a much more versatile beast that lurked under the surface.

Of all his genre work the awesome Total Recall must stand his most well known. Ironside's Richter was not your average henchman. Rather than cast an equally muscular punching bag for the Austrian lead to duke it out with Director Verhoeven went with someone that would bring more depth to what could have been a one dimensional role. Vicious, merciless and yet with a tendency to be left humiliated by both Schwarzenegger's Quaid and Ronny Cox's Cohaagen in equal measure. For all his callous corpse-stamping and angry shouting one can't help feel a little sorry for the dude when we finds out that Quaid and Cohaagen have been best buddies all along and that Richter would never be a part of that villainous circle. Not to mention that Cohaagen assigned Richter's girlfriend to be Quaid's wife - can you imagine the meeting where he broke the news to him? Although that dynamic fuelled Richter's anger Ironside used it to imbue him with an element of pitiful goofiness and, at times, made the guy a little pathetic. Bold choices for a character whose main function is to antagonise Arnie.

Ironside often rendered seemingly simple characters in complex colour and shade. Verhoven gave Ironside a smaller role in Starship Troopers, this time playing military instructor Rasczak. For the training portion Ironside uses his trademark growl and sneer as expected but once the war is in full swing and he's placed back in action, cyborg hand and all, there is an element of charm he exudes that makes his eventual demise quite upsetting to watch. It's subtle, borderline unnoticeable, but for an actor often cast in 'angry dude' roles he was capable of incredible subtlety. He also gets to turn right into camera and say the line "they sucked his brains out". Less subtle, but that's Shakespeare to me.

Ironside got to dig into the scenery a little more as the bad guy in the maligned Highlander 2: The Quickening. The movie is batshit enough to be a fun sci-fi/fantasy that comes undone more by the fact it's supposed to be a Highlander sequel than its own narrative and pacing missteps. Here Ironside goes full on nuts and although it is a less comfortable fit he gives it everything he's got.

More successful a pantomime villain is the marvellous Overdog from absolute joy Spacehunter: Adventures in the Forbidden Zone. Ironside doesn't fight the layers of make-up and mechanical crane he's attached to but uses them to fashion a truly weird cyborg bastard overlord.

Ironside had his fair share of protagonist roles too. Despite an almost perpetual grimace Ironside has a charming, Tom Baker-esque grin that was immensely endearing. This allowed him to play rogues and scoundrels as naturally as angry bad guys. Ham Tyler was by far the edgier, cooler hero in V while he more than adequately carried the straight to video but incredibly convincing post-apocalyptic Neon City.

One of the reasons I consider Ironside to be somewhat overlooked is that his famous roles often obscure the breadth of his filmography. The guy just hasn't stopped working. I'd clocked him in Terminator: Salvation and X-Men: First Class but his IMDB page is stocked with movie roles, TV roles and voice work. And I haven't even had chance to talk about Extreme Prejudice, Turbo Kid or the fact he is Darryl fucking Revok in Scanners!

Ironside is the kind of actor that makes me grin every time he walks on screen and even though his most famous work will no doubt be the ones where he got to angrily antagonise a hero his body of work shows tremendous versatility and charisma.

Want proof? Look at every one of those stills - every single one wears Ironside's face but behind those eyes and hidden in that posture are clearly distinguishable characters. Everyone one a visibly different person, irrespective of costume or setting. The guy can communicate character in still images. Ironside isn't just an action star with an awesome name - he's a bloody amazing actor.