Directed by: Robert Kurtzman
Starring: Nicole Eggert, Richard Greico, Susan Tyrrell, Randy Vasquez, Heather Lankencamp, Bruce Campbell, and Rosey Brown
In the future, Metro City is overrun by crime. While Mayor Grimsbaum (Tyrrell) attempts to make herself look good in the midst of this epidemic, most of said crime seems to be masterminded by the Burne Brothers, Mad Dog (Grieco) and Little Henry (Vasquez).
On the eve of their electric chair execution, Mad Dog escapes and reconnects with his old gang in the city. Undercover cop Alyssa Lloyd (Eggert) infiltrates Mad Dog’s gang, but is recognized and then assaulted and left for dead. However, thanks to Professor Jack Crowley (Abbott), Alyssa is regenerated and then put into a nifty skintight black Kevlar suit. After singlehandedly lowering the Metro City crime rate, Alyssa Lloyd is rechristened “The Demolitionist”. Though, to be fair, if you’re looking for buildings to be demolished, Alyssa isn’t really your gal. Anyway, the final battle between The Demolitionist and Mad Dog inevitably materializes…who will demolish who? Or…whom?
Further comparisons could be made to Barb Wire (1996) and Point of No Return (1993), but that’s just it: there’s almost endless movies we could compare The Demolitionist to. Lack of originality in a comic-book movie like this isn’t, alone, such a bad thing, but The Demolitionist is missing the wit and sense of pacing that a Raimi movie has. We have to wait a long time for her to really become “The Demolitionist”.
One of the best things about this movie is the cast. It’s chock-full of B-movie names we all know and love, and there’s even a cameo by, you guessed it, Bruce Campbell. As if the Raimi comparisons needed further enhancing. It would take too long to list everyone involved, but one Rosey Brown as Big Frank steals the movie despite his brief appearance.
Featuring the end-credits song “Demolition” by Paul Blubaugh, sadly The Demolitionist will never boast an endless series of sequels, a TV show, a toy line, a comic book, and mass-market pop culture appeal. We assume that’s what the filmmakers were going for, but it’s missing a certain “it factor” that would cause it to be the latest superhero sensation. But, then again, not everything can be a Green Lantern (2011).
Comeuppance Review by: Brett and Ty