Hell's Heroes (1987)

Hell's Heroes (1987)- * *

Directed by: Stelvio Massi

Starring: Fred Williamson, Miles O'Keefe, Scott Green, Gabriele Gori, and Chuck Connors

Set in the jungles of ‘Nam during the war, Hell’s Heroes tells the tale of Sgt. Darkin (O’Keeffe), a badass soldier whose badassery is constantly hampered by bureaucratic red tape. Naturally, this causes Darkin to become disillusioned with the war. When Senator Morris (Connors) comes to visit the troops on some sort of a press junket, Darkin expresses his dissatisfaction with life and the TV cameras and radio microphones eagerly pick it up. When Senator Morris and the soldiers he’s with are ambushed by some sneaky Viet Cong bad guys, Darkin is made the scapegoat even though he had nothing to do with it and was merely expressing his opinion. During his period of punishment, he meets up with other rebellious soldiers such as Feather (Fred), Trash (Green), and Bronx (Gori). Now a team with nothing to lose, will the men fight their way out of Vietnam when there are traps and gunfire everywhere? You just may find out…

Hell’s Heroes is yet another mediocre jungle slog that even Miles O’Keeffe, Fred Williamson, and Chuck Connors could not enliven. That should tell you how dreary it can be. Granted, fan favorites Fred and Connors don’t get a lot of time to shine here. That’s one of the problems. The major issues are, as we’ve seen time and time again, a lack of lighting, and the fact that there’s no one central villain. You’d think those would be no-brainer inclusions to an exploding-hutter like this, but no. The lights are off for about 60 percent of this movie’s running time and truly no one is home.

Just some mindless machine gun shooting, helicopters flying around (none explode), and huts exploding – not to mention O’Keeffe doing his Clint Eastwood impression again – is not really enough to get this plodding mush off the ground. Having more Chuck Connors would have been an improvement, but it must be said that his exit is grand, as is befitting the great man. It is highly appropriate that O’Keeffe’s character is named Darkin – we’re certainly in the dark for the majority of the film. It’s almost like they were thumbing their noses at us, the loyal audience. If that’s the case, that’s not cool, man. When a movie is so dark that the only light sources are muzzle flashes or explosions, that’s not good. It all adds up to an Italian-made jungle slog that we really wanted to like, but the lack of lighting and  too-brief appearances of the fan favorites made that difficult…actually, impossible.

This same year, 1987, director Stelvio Massi again teamed up with Fred Williamson for the more entertaining Black Cobra. Perhaps he wanted to make amends for Hell’s Heroes and use Fred in a more workable context. The naming of the incidental characters Bronx and Trash will immediately remind genre fans of Mark Gregory and 1990: The Bronx Warriors (1982) and Escape from the Bronx (1983), where he, of course, played Trash. Is this something we were supposed to pick up on? Because if so, then the character name of Darkin does indeed seem more like a nod to the fact that only the most minimal lights were used and nothing is seeable during the night scenes – and they knew it. Stelvio Massi is also known for his spate of Poliziotteschi movies in the 70’s, so he knows how to make fast-paced action. Something must have gone awry in the jungle this time…a bungle, to paraphrase Jethro Tull.

In the end, Hell’s Heroes is dull and not indicative of the talents of those involved. There’s a reason it was included with the 4-movie set “Inglorious Bastards 2 Hell Heroes 4 Inglorious Film Collection”, the title of which we’ve chastised before for being almost incomprehensible, and not released as a standalone disc. It’s not worth that treatment, and only die-hard fans of this type of movie are encouraged to seek it out.

Comeuppance Review by: Brett and Ty 

Double Target (1987)

Double Target (1987)- * * *

Directed by: Bruno Mattei

Starring: Miles O'Keefe, Donald Pleasence, David Anderson, Ottaviano Dell'Acqua, Luciano Pigozzi, Kristine Erlandson, and Bo Svenson









When Major General Howard Stern is assassinated in Hong Kong (apparently someone’s not a fan), and further suicide attacks occur in Kuala Lumpur and the Philippines, the U.S. government calls in American commando/American hero/American badass Robert “Bob” Ross (O’Keeffe). This guy isn’t painting fluffy little clouds anymore. All Ross wants to do is get legal custody of the son he had in Vietnam with his now-deceased wife, and bring him back to the good old U.S. of A. But the questionable Senator Blaster (Pleasance) (shouldn’t that have been O’Keeffe’s name in the movie?) forces him to go on a dangerous mission in order to find his son - track down the evil russkies 

Col. Galckin (Svenson) and his henchman Talbukin (Anderson) and their never-ending army of goons, and eliminate them. In order to do this, Ross teams up with an in-country contact, Toro (Dell’Acqua), as well as those sympathetic to his cause, McDouglas (Pigozzi) and his daughter Mary (Erlandson, who has an impressive resume of these types of movies). Ross even offers to take Mary back to America along with him and his son...but under such heavy fire, will they all make it?

Blow-ups, shooting, O’Keeffe punching people, exploding huts, exploding guard towers, guard tower falls, exploding helicopters. It truly never gets old, unless it’s done wrong. And as we always say, the Italians made the best jungle-set exploding hutters, and here is no exception. Bruno Mattei is at the helm for this particular leafy-green violence fest, and he doesn’t disappoint. His work can be hit or miss, to say the least, but this is a minor hit. Minor because fellow O’Keeffe-starred Italian jungle epic The Hard Way is better, but Double Target hits the mark, if I may keep the shooting theme going.  The only real flaw is that it’s about eleven minutes too long. Yes, eleven.

Probably because they tried to develop certain dramatic themes, and that takes time. We’re always crying out for more character development, so it would be hypocritical of us to criticize the filmmakers for that, and we won’t. But there’s only so much of Donald Pleasance sitting at a desk coughing into his inhaler that any audience can reasonably stand. To be fair, though, his scenes with Mike Monty are perfectly fine, and when Pleasance, Monty, and O’Keeffe are all together, it’s a B-Movie action fan’s dream come true.

O’Keeffe has never been cooler, and that’s saying something because he’s usually pretty darn cool. It’s a joy to watch him mow down evil Russians, charge through fruit cart chases, and ignite entire villages with his rocket launcher. 

He even takes on a shark in an amazing bit of man-to-shark combat. That was definitely a movie highlight. It’s all set to an ace Stefano Mainetti score, which helps a lot. Mainetti also did the music for the closing song, “Losing You”, sung by Rosanna Napoli. It’s always funny when, after a viewer is subjected to 102 minutes of violence and bloodshed, a tender, romantic ballad plays over the credits. It’s all part of the anti-mainstream, illogical fun that comes with these pre-CGI-era blow-up movies.

In misspelled credits news, we are informed of the many people that worked hard on the Philippine Crow. They must have meant “crew”. When English isn’t your first language, unpredictable things can happen when you try to print it on screen. Once again, it’s part of the unique experience. Either that or they employed a Philippine crow to relay messages back and forth amongst the crewmembers on the set. Seems economical.

Never released in the U.S., Double Target represents the exploding hut era well, with some really nice explosions and some other fine attributes. Really only because of its slightly overlong running time does it not reach the heights achieved by some of its competitors, but it is a more than worthy addition to the ‘cannon’, if you will.

Comeuppance Review by: Brett and Ty

Also check out a write-up by our buddy, Cool Target!

The Hard Way (1989)

The Hard Way (1989)- * * *1\2

Directed by: Michele Massimo Tarantini

Starring: Miles O'Keefe,  Philip Wagner, Chuck Bishop, Milton Rodriguez, and Henry Silva






“You shouldn’t have killed that Corn On the Cob” - Pinero





When a bunch of white guys in suits in a U.S. government office (including a man - according to what we heard - named Senator Towel...Senator TOWEL. Gotta love stuff that’s lost in translation) decide that a Bolivian drug lord named Pinero (Wagner) must be eliminated, they send in the best: A three-man commando squad consisting of Karl (Rodriguez), who looks like a young and vigorous Don Rickles, Ibanez (Chuck Bishop in his only role to date), and, of course, the leader, True American Hero Bull (O’Keeffe). 

The suits even pass out headshots so their fellow pencil-pushers can see what the guys look like. The problem is, a sadistic and ruthless overlord named Wesson (Silva) is willing to protect the drug empire with all the resources at his disposal, and there are plenty. Countless goons that are armed to the teeth are willing to sacrifice everything to keep Pinero alive. Three of America’s finest versus unending waves of bad guys? Seems like the odds are in OUR favor. But will our heroes penetrate the enemy stronghold? Find out today!

Not to be confused with the 1991 James Woods/Michael J. Fox outing, this, the original The Hard Way, is essentially a 90-minute chase through the jungle - but it manages to rise above its lowly station. In fact, we won’t even dub this a “jungle slog” like we normally might, because there’s nothing really sloggy about it. 

Without doubt, the movie is lacking in the originality department; baddies shoot and chase, good guys shoot and chase, etc., for essentially the entirety of the running time, but it’s all so wonderfully excessive, you just have to love this particular romp. As we always say, the Italian jungle epics are the best, and journeyman director Michele Massimo Tarantini turns in an against-all-odds winner this time around.

There’s a lot to love about The Hard Way: it’s uncompromising yet fun, there’s no annoying reporter character or irritating child character, it delivers mindless shooting and explosions with style and aplomb, it came out in the golden year of 1989, it has an awesome score by Luigi Ceccarelli, there are cool helicopter shots (and a few of them explode - seemingly a well-placed rope is all it takes to set them ablaze), dudes scream while they fire off an endless supply of rounds on their machine guns, and Henry Silva has an evil ascot. He also gives commands on the world’s biggest walkie talkie. 

Bull - not to be confused with the wacky bailiff on Night Court - lets his grenades do the talking, though when Miles O’Keeffe does speak in this movie it sounds like he’s doing a rather lame Humphrey Bogart impression. At any moment you think he’s going to end a sentence with “...shweeethaaart”. There are even BAZOOKAS! And they get put to good use, too. Trust us.

Listen, if you want something intellectual, watch Mindwalk (1990). If you want to watch cannon fodder be mowed down by machine gun fire and watch crap get blown up, The Hard Way is the movie for you. It’s G.I. Joe and the A-Team writ large....sure, there are lots like this, but this one is done well. It should have been on the Mercs box set. They didn’t waste time with simply exploding huts, they blew up brick homes! The bullet budget must have been enormous, as the kill count rivals anything we’ve seen, and we’ve seen ‘em all, just about. 

Lest we forget the Prerequisite Torture (this time of Rickles) (as we called him), and it’s all in a scenario where the baddies can’t hit our heroes, but our heroes have no trouble hitting the baddies. It’s all very NES-esque. From the music, to the setting, to the shooting, to the 1989 timeframe - it could have been a Nintendo game.

Shot in Brazil and released in Germany and Japan on VHS (and later on DVD in the U.K., we believe), The Hard Way will, to paraphrase the great Henry Silva, ‘bring you great satisfaction’, should you get a chance to see it. And we recommend that you do.

Comeuppance Review by: Ty and Brett 

True Vegeance (1997)

True Vegeance (1997)- * * *

Directed by: David Worth

Starring: Daniel Bernhardt, Miles O'Keefe, Jonathan Lutz, and Beverly Johnson


 “The Griffin you knew is dead.” - Griffin




All Allen Griffin (Bernhardt) wants to do is play Mouse Trap with his Asian daughter on her birthday. Unfortunately, the Yakuza ruins his plans and kidnaps her. So Griffin dons his revenge togs and goes on a no-holds-barred mission to save his beloved daughter before it’s too late. Complicating his quest is the presence of a man known only as The Specialist (O’Keeffe), a mercenary of some sort and a shadowy figure from Griffin’s past. 

Also a detective, Emory (Lutz) has teamed up with some sort of Naval intelligence officer, Wilson (Johnson), and they are hot on Griffin’s trail and they may curtail his mission before he gets a chance to complete it. Of course, Griffin is an ex-Navy SEAL and knows how to handle himself in a combat situation - but will he make it out alive?

It may start off like The Specialist (1994) (even O’Keeffe’s character is named ‘The Specialist’), and carry on like a cross between Commando (1985) and Showdown in Little Tokyo (1991), but believe you-me, this movie is 100% Bernhardt. 

It truly is his best work - Bernhardt at his best, as you’ve always wanted to see him. Dressed in a SWAT-style flak vest with a black duster coat, Griffin is almost Punisher-like as he blows away the baddies with no mercy. Sure, many characters over the years open their hidden gun stash and put on their black revenge outfit towards the end of the movie, but Griffin does it in the first third, and keeps it on. Plus, he keeps his cache of weaponry at work, not at home. We see - in great detail - how much he loves his guns. Plus he can knock down an iron gate with a dirtbike.

Sure, his resemblance to Van Damme is uncanny, hence why we call him “Van Daniel”. But he really comes into his own here. Plus, he’s not alone in the lookalike department. Johnson resembles Pam Grier, Lutz resembles Fred Dryer, and some other guy resembles Lou Diamond Phillips. Too bad they all couldn’t be together, but this is a close-enough approximation of what would have happened. Even the production company, FM, is remarkably close to action stalwarts PM. But, honestly, except for O’Keeffe and Bernhardt, the cast isn’t what matters. It’s the action, and they don’t skimp on that.

Many cliches we know and love are here - yelling while shooting a machine gun, the baddie says “no more mistakes” to his goons, and the phrase “we’ve got company!” is also uttered. 

The shootout in the strip club is probably the centerpiece of the film, and the “Direct to Video John Woo on a budget” vibe indeed wins over the audience. However, at times, the whole outing, underscored by this scene, feels like a parody of action films. It probably isn’t - at least we HOPE it isn’t - but it was the late 90’s, after all (even though visually it looks like it was the early 90’s), and irony was starting to creep in and ruin things. It is unlikely that director Worth would do this, as he’s known for being the director of Kickboxer (1989) - and, at least on our site, known for Lady Dragon (1992) and Lady Dragon 2 (1993), along with Soldier’s Revenge (1986) and Chain of Command (1994). But he does allow some wacky things to go on in the cinematography department, notably some crazy, headache-inducing swirling camerawork that seems pretty unnecessary.

True Vengeance does indeed deliver the action goods in true DTV 90’s style. We may have a few minor quibbles with it, but nothing is perfect. It’s nothing a few wacky screams from Daniel Bernhardt and a copious amount of gun-shooting can’t solve. If you can find it, go back to the glory days - you’ll TRUE-ly enjoy the experience.

Comeuppance Review by: Ty and Brett

Also check out a write-up from our buddy, The Action Elite! 

SAS: San Salvador (1983)

SAS: San Salvador (1983)- *1\2

Directed by: Raoul Coutard

Starring: Miles O'Keefe, Raimund Harmstorf, Dagmar  Lassander, Sybil Danning, and Anton Diffring 









In the small South American country of San Salvador, a beloved archbishop is violently murdered. This sets off an already-volatile situation with the citizens and there are riots in the streets. The culprit is found to be arch-villain Enrico Chacon (Harmstorf) and naturally there’s only one man who can stop him: Malko Linge (O’Keeffe). 

Malko lives in a castle of his own (not to be confused with Coffin Joe of course), and apparently takes on assignments from the CIA in order to keep up his Austrian castle, which is in dire need of repair. His girlfriend Countess Alexandra (Danning) doesn’t seem to mind. So Malko goes to San Salvador and meets up with his contact Peter (Diffring) but seems to be distracted by wooing the ladies, including Maria Luisa (Lassander). Malko is going to have to get to fighting the baddies sooner or later, but will he complete his mission?

While it does open promisingly with a cool credits sequence, SAS is really just one in a long line of El Presidente/South America slogs we’ve seen over the years. When you look at how much time has gone by as you’re watching the movie and see only about 20 minutes or so has elapsed, it feels more onerous than usual. This is because it doesn’t feel like 20 minutes of its own movie, it feels like it was just added on to Cocaine Wars (1985), Overthrow (1987), Merchants of War (1989), McBain (1991), and so many others of this ilk. The minutes just seem added on to one long movie. And the distinct lack of action really hurts this one.

The cast is interesting, but unfortunately they can’t make the proceedings all that interesting: minor fan favorite O’Keeffe has some snappy outfits and closely resembles a statue. Malko is clearly the ultimate chick magnet, and it must be his way of exiting a building that makes him such a hit with the ladies (this one particular building exit is a movie highlight. You’ll know it when or if you see it). 

Sybil Danning is barely in the movie but she does get one of the best lines, “are you still playing samurai for the CIA?” - since this was at the beginning of the movie, we were hopeful the idea of a CIA samurai would come to fruition. Spoiler alert: it doesn’t. Dagmar Lassander, among other European people, play South Americans of Latin descent. Of course that includes Raimund Harmstorf of Thunder Warrior 2 (1987) and The Viking Sagas (1995) fame as Enrico Chacon, not to be confused with acclaimed Cat Stevens album Mona Bone Jakon, as the evil baddie and nemesis of Malko.

Interestingly, SAS was one of the few movies directed by Raoul Coutard, the famous cinematographer who was instrumental in the French New Wave movement, having worked with Godard on classics like Breathless (1960) and Band of Outsiders (1964). But by 1983, he was reduced to focusing his lens on Miles O’Keeffe in a Speedo. Of all people, you’d think Coutard would know the importance of action and pacing, but the pace is indeed slow and instead of solid action material, he fills the time with the standard moments of civil unrest, disco scenes and what you might call video store nudity.

Released by Vestron here in the U.S. and featuring the song La Colegiala by Son Caribe, you’ll be sendin’ out an SOS if you attempt to watch SAS.

Comeuppance Review by: Brett and Ty 

Silent Hunter (1995)

Silent Hunter (1995)-* *1\2

Directed by: Fred Williamson

Starring: Miles O'Keefe, Erika Rafuls, Jason Cavalier, Fred Williamson, and Dakota Horvath




 “Here comes the dumb Sheriff.”






Jim Paradine (O’Keeffe) is a Miami Cop On The Edge who is tired of the justice system continually releasing criminals back into society. He has a loving wife and daughter, and is about to take two weeks vacation. Suddenly a gang of thugs carjack the family, and end up killing Paradine’s two beloved family members, and shooting him as well. Though left for dead, he does what would only be natural after an event like that, he moves to a snowy, rural location, grows a beard, and becomes a mountain man. When the same gang of baddies shows up in this cold, remote location and disrupts his life again, Paradine gets revenge one by one, and even Sheriff Mantee (Williamson) can’t stop him. Will Paradine use his white coveralls while stalking through the snow to eliminate the criminal scum and become the ultimate SILENT HUNTER?

Silent Hunter was directed by Fred, who gave himself a modest supporting role as the Sheriff. He graciously made Miles O’Keeffe the main hero, instead of himself. We’re definitely fans of O’Keeffe, having enjoyed his performances in Cartel (1990) and Zero Tolerance (1994) - though not so much in Liberty & Bash (1989), but we’ll let that one go because it wasn’t his fault that movie sucked. When he grows his beard and long hair, it’s surprising how much he looks like Ashton Kutcher. When the movie starts out, he’s on the streets of Miami, battling it out with goons with outstanding hair. The next thing you know, we’re in the midst of a snowy wilderness slog. The movie should have stayed with what was going on in the first third, where ideally Miles battles a bunch of meatheads until he finally gets revenge on his attackers. That’s almost what happens in the wilderness, but it takes a patience-testing 97 minutes to get there. Silent Hunter, while not too bad, should have been shorter and snappier.

While O’Keeffe is good, Fred is good in his limited screen time, and Jason Cavalier, who plays the role of the classic 90’s psychotic, cliche-spouting baddie, Dewey, is good, truly the movie is stolen by one Dakota Horvath. Who is Dakota Horvath you ask? Well, he can only be described as a “pint-sized Sinatra” - a young tot who, dressed in a tuxedo, belts out a classic tune like a man four times his age. This occurs at Paradine’s daughter Kathy’s (Rafuls) birthday party. This is the sort of entertainment normally seen at a 12 year old girl’s birthday party, right? Our hats go off to you, Dakota Horvath, wherever you are.

So while the momentum slows during its overlong running time, Silent Hunter isn’t without some redeeming qualities. Like the song, “You’re A Long Way From Home”, by Raymond Fabi and Mark Hillard, and interestingly there is a poster for the movie Scarecrows (1988) on someone’s office wall. While it’s not a showcase for onscreen Fred, Silent Hunter makes a relatively decent one-time watch.

Comeuppance Review by: Ty and Brett

Also check out a review by DTVC!

Zero Tolerance (1994)

Zero Tolerance (1994)-* * * *

Directed by: Joseph Merhi

Starring: Robert Patrick, Titus Welliver, Mick Fleetwood, Jeffery Anderson-Gunther, and Miles O'Keefe

PM knows action, and by this point in their history they had refined their craft to such a point that they  turned it into an art. Case in point: Zero Tolerance. This movie is awesome. It delivers the goods in every possible way.

Jeff Douglas (Patrick) is a by-the-book FBI agent and family man. On what he thinks will be just a routine assignment, he must go down to Mexico and pick up Manta (Welliver), an evil, but charismatic killer and drug dealer. He is a member of the White Hand, a sinister underworld organization intent on putting a new form of liquid heroin on the streets. Things don’t go exactly as planned, and Manta escapes. Now back with his criminal associates Vitch (Fleetwood), Kowalski (O’Keeffe), LaFleur (Anderson-Gunter), and others, he commits an act that is so horrendous against Jeff Douglas, Jeff must go rogue and systematically kill all the baddies. His FBI counterparts don’t approve of his reckless ways, but Jeff doesn’t care. He’s traveling around the country on a no-holds-barred revenge mission, and for the people that wronged him, he has ZERO TOLERANCE.

Robert Patrick as the hero, Jeff Douglas, was an excellent choice. Zero Tolerance has way more emotion than a normal film of this type, and Patrick is just the man to carry it off. That’s something that makes this movie special. You can see Douglas slowly losing patience with life, and being stripped of everything he has. With his emotions flooding, we see he has nothing left to lose, and he takes out his grief and pain, as well as anger, on his aggressors. Another interesting casting choice was Mick Fleetwood as one of the top bad guys. It seems the filmmakers wanted to go with Donald Pleasance, but seeing as how the drummer for Fleetwood Mac is evil in real life, the casting decision was a no-brainer. O’Keeffe puts in one of his best roles also, as the conflicted baddie with the Matt Hannon-like hair.

Titus Welliver is also noteworthy as the sinister, purple suited Manta. He’s actually not the only one in the movie that wears a purple suit. He even has a multi-screen videoconferencing system with his fellow evildoers which can only be described as GoToDrugDeal (patent pending). This was way before Skype and a lot of other technology. As we discussed in the Bloodmoon (1997) review, direct to video action movies oftentimes are ahead of the curve technology-wise, but no one gives them credit because no one ever talks about them.

But the bottom line is, this is a mega-entertaining, fast-paced gem that delivers the goods times ten. It’s the best kind of revenge movie. It has a well-written plot, a likable hero, a hate-able villain, and action and stunts galore, but it actually has underpinnings of emotion and depth. What more could you want?

Zero Tolerance gets our most enthusiastic recommendation. See it today!

Comeuppance Review by: Brett and Ty

Cartel (1990)

Cartel (1990)-* * *

Directed by: John Stewart

Starring: Miles O'Keefe, Don Stroud, Crystal Carson, Gregory Scott Cummins, and William Smith












Chuck Taylor (O’Keeffe) is a plane courier (not inventor of Converse sneakers), flying solo and delivering packages. One day, he unwittingly carries a shipment of cocaine across the Mexico border into California. Even though he’s innocent, he gets sent behind bars. The evil drug lord behind the bust is one Tony “The King” King (Stroud). He is also captured and sent to the big house, and then a prison movie scenario begins. King escapes, and Taylor follows. After King sends some goons, led by Rivera (Cummins) to terrorize Taylor’s family, he goes on a rampage of revenge to kill all the baddies involved.

Getting off to quite a rockin’ start, we see Miles O’Keeffe cruisin’ in his plane, wearing his aviator shades while the very Foreigner-like theme song, “Flying Blind” by Kenwood Hall pumps on the soundtrack. Because this is from the makers of the classic Action U.S.A. (1989), there are plenty of back-to-back action scenes and impressive stunts. It then goes to a prison scenario, with an underused William Smith, who really barks his few lines. There’s also a prisoner who looks exactly like Mr. Bean.

What’s great about Miles O’Keeffe is his unapologetic emotionlessness. He proudly can stand in the hall of wooden actors alongside Michael Pare and Don “The Dragon” Wilson, but with O’Keeffe it just seems like he doesn’t try to hide his expressionless acting in any way. And he says as little as possible. So a lot of the fun of Cartel, and other Miles outings, is his acting style.

Interestingly, one of the Martial Arts choreographers on the film was Isaac Florentine, later to be a well-known DTV director in his own right. You can see the roots of how he learned his craft by watching Cartel.

It is a tad on the long side, and even though it is filled with action and stunts, it’s not quite as good as Action USA, but very few things are, so don’t take that as an insult. It still has a similar vibe, and Cartel is well worth checking out.

Check out our buddies, Direct To Video Connoisseurs' and Explosive Action's take on it too.

Comeuppance Review by: Brett and Ty

Liberty & Bash (1989)

Liberty & Bash (1989)-*

Directed by: Myrl A. Schreibman

Starring: Miles O'Keeffe, Mitzi Kapture, and Lou Ferrigno














When we first heard that there was a movie called "Liberty and Bash" in which Miles O'Keeffe played Liberty and Lou Ferrigno played Bash, we had the only natural reaction: "this is gonna be awesome". It is with a heavy heart that we have to report that "Liberty and Bash" is a crushing disappointment that doesn't even come close to fulfilling its potential.




The plot, unfortunately, involves a street thug named Jesse who runs afoul of some baddies led by a Mr. Big-type hotshot uncreatively named "Mr. B". He seeks help from a social worker named Liberty because they were buddies in the past. Liberty then teams up with Bash who works for a Big Brothers-Big Sisters-type organization. Meanwhile, Liberty's girlfriend (Kapture) is pregnant and that causes some tension between them, blah blah blah.


Despite what you may have heard, this movie has NO ACTION. This movie is so offensive because it shows a contempt for its intended audience (which is presumably action fans). The makers of this film are completely clueless as to how make an even halfway-decent action film. It is mostly talking, and talking about things that the audience couldn't care less about at that. This movie is mainly about social work! SOCIAL WORK I TELL YOU!



One funny thing is that Liberty is always referring to his "kids". These so-called "kids" are in their late thirties/early forties, if not older. He deals with "troubled gang kids" at the East Hollywood community center but it should be called "Old brothers, senile sisters". One of the funniest "kids" is an Asian man named "Juan Ton". Yes, Juan Ton. He calls everyone "Homes" and you can't help but laugh.



That's the nicest thing we can say about this cinematic abomination. Another big crime it commits is that there is little-to-no Bash. Ferrigno is in the movie for a total of about five minutes. He doesn't bash anybody. He motivates kids in a cheap, makeshift gym to climb the ropes. He does utter the line "YOU-WILL-LEARN-LIFE-IN-AN-EFFECTIVE-WAY", however. A sad fall from the legendary Billy of Cage (1989) fame.




The synopsis on the back of the VHS box, on the front of which has Ferrigno's and O'Keeffe's heads pasted on other people's bodies for some reason(shamefully released by Fries home video in the U.S.) proudly proclaims: "sizzling in its scope, dynamic in its depiction" and "A pounding pace and non stop action provide the thrilling ingredients for LIBERTY AND BASH". First of all, it's "non-START", nonexistent action. Secondly, Street Asylum (1990) did a better job of portraying the toughness of L.A. life at that time.



And thirdly, A slow-as-molasses pace, pointless, unending exposition, NO ACTION, and a parade of men in ill-fitting shirts in various states of unbuttonedness add to the hell of enduring this crud.


This should be retitled STUPIDITY and BAD.

Comeuppance Review by: Brett and Ty