Brandy Ledford | Through the Shattered Lens

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In the near future, law-breakers and other destructive types are not put in prison but are instead cryogenically frozen and left in suspended animation until they’ve served out their sentences. The most fearsome criminal in the world, Simon Phoenix (Wesley Snipes) has been frozen but so has his nemesis, Detective John Spartan (Sylvester Stallone).

In the far future, Los Angeles is a part of a megalopolis named San Angeles. Envisioned and watched over by a seemingly benign dictator named Cocteau (Nigel Hawthorne), San Angeles is a wannabe utopia where cursing leads to an automatic fine and all of the restaurants are Taco Bell. When he’s thawed out for a parole hearing, the suddenly super-powered Phoenix makes his escape. The police, no longer knowing how to deal with violence, make the reluctant decision to thaw out John Spartan. Assigned to work with the enthusiastic Lenina Huxley (Sandra Bullock), Spartan must navigate this strange future to defeat Phoenix.

For some reason, Demolition Man never seems to get the respect that it deserves. Made at a time when both the Rambo and the Rocky franchises appeared to be over, Demolition Man features one of Stallone’s most appealing performances as he deals with a society where just saying a bad word can cause a scandal. Just as Spartan proves that his brand of destructive police work still has its place in the future, Stallone proved that he could still carry an action movie in 1993. There’s a lot of knowing humor to Stallone’s performance. After a series of failed comedies in the 80s, Demolition Man was the movie that proved that Stallone could be intentionally funny. Stallone is also surrounded by one of his strongest supporting casts. Wesley Snipes attacks his villainous role with gusto while Denis Leary breaks out his stand-up routine as Edgar Friendly, the leader of San Angeles’s rebels. This is also the film that led to Sandra Bullock getting cast in Speed and she’s so incredibly adorable here that even Stallone breaks out into a smile while acting opposite her

(In 1993, you couldn’t turn on television without seeing Sandra Bullock saying, “All restaurants are Taco Bell.”)

Demolition Man is an action film and it lives up to its name, with all the demolition that a viewer could want. Even more so, It’s also a satire, of both Stallone’s previous films and what was then known as “political correctness.” Demolition Man’s portrayal of a sterile society where everyone had been programmed to be docile and inoffensive wasn’t that far off from what a lot of politicians were then promoting for America at large. Luckily, John Spartan was around to put an end to that. The end result is one of Sylvester Stallone’s most memorable films.

2001’s Strange Frequency is an anthology film. Usually, I hate anthology films because it always seems like the viewer ends up with one good story and three mediocre ones. As well, the anthology format is one that sometimes seems to be specifically designed to bring out the worst tendencies in otherwise talented directors. Often times, they seem to treat the anthology format as a lark, an excuse to show off their technical mastery without really paying much attention to anything else. The results often feel thematically shallow.

Well, guess what? I liked Strange Frequency. It was a lot of fun. Each of the four stories mixed horror with music. The first story features two heavy metal fans (Erik Palladino and Danny Masterson) who, after a car accident, find themselves in a club where disco is played nonstop. For them, it’s Hell. For me, it sounds like a fun afterlife. (Yes, it’s not easy to watch Danny Masterson nowadays but he does suffer in this story.) The second story is about a middle-aged serial killer (Eric Roberts) who targets younger hitchhikers, specifically because he dislikes their taste in music. However, when he picks up a young grunge fan (Christopher Kennedy Masterson), he suddenly finds himself being targeted. It turns out that this hitchhiker targets old people who won’t shut up about Woodstock. They then meet an older man who has never forgiven the baby boomers for rejecting big band music. In the third story, a rock star (John Taylor) who enjoys destroying hotel rooms is confronted by a maid (Holland Taylor) who can literally clean up any mess. (“I want my headlines!” the rock star shouts as he realizes he’s never going to get credit for destroying his current room.) Finally, the fourth story stars Judd Nelson as an A&R man who has the ability to find up-and-coming stars but whose discoveries inevitably end up dying.

All three of the stories were well-done and genuinely clever. My favorite was the second story, which featured Eric Roberts giving an enjoyably unhinged performance as the Woodstock refugee with a hatred for Lollapalooza. The story was both clever and suspenseful and it actually had something to say about the cultural differences between the generations. As you get older, you really do come to hate whatever music came after the artists you grew up listening to. Eventually, all the Swifties will be in their 40s and 50s, wondering why the younger generation doesn’t appreciate good music about feelings.

Strange Frequency was a pilot for a series that aired on VH-1 in 2001. How come I don’t remember this show? The pilot was actually really good! Thank you to Australia’s own Mark V for telling me about this pilot and letting me know that it was on YouTube! Check it out if you get a chance.

Previous Eric Roberts Films That We Have Reviewed: