![]() “I had him and I… I couldn’t hold him,” our hero confesses shamefully. Yep, that’s right, this time it’s personal. Our hero is a cop suspended from duty following the death of his partner, who is also his brother. It’s strange that these little instances (which add up over the course of the film) should bother me more than the hackneyed writing, which literally uses ever cliché in the book. Later on, a bad guy opens fire on a good guy separate by a pane of glass, but apparently misses so widely she doesn’t even break the pane. I know breaking a door is more dramatic than opening it with the force of someone else’s body, but it’s just one little example. There’s a sequence in an empty bathroom where our lead kicks a goon through a bathroom stall door, breaking it, ignoring the facts that the stall (a.) opens inwards, and (b.) could not have been locked as there was nobody in there. While I could arguably stomach that possibility, there’s a more damning one that this leads to: quite simply, nobody cared. There are numerous other flaws spotte dthroughout the film, which give the impression that nobody was realy thinking too much about the film in question. It’s a fairly gaping logical flaw with this whole thing, and you reckon the movie might have done better to ignore it rather than attempt to explain it. A handful of evidence left in a small locker room is enough to construct an alternative story, and the police swallow it up – despite the fact that there would be no photo or video evidence to back it up at all. I know Hollywood law enforcement is highly inept, but it strains logic to believe that nobody notices (a.) the team skydiving into the buildings, and (b.) the team skydiving back out of the buildings. In order to keep up the routine, Busey’s method of operation needs to remain relatively covert, so they do their best to cover up their involvement. Of course, this leaves all manner of awkward plot holes. It’s hokey and more than a little implausible, but it’s certainly a relatively interesting idea and a solid example of the “use an extreme sport in a crime thriller” subgenre that emerged in the early nineties (see Point Break as a further example). The plot basically follows Gary Busey and his crack team of evil skydivers as they parachute down into government buildings, steal evidence and important computer files, and escape through incredibly stylish means. The movie itself has a relatively clever premise, at least for a film like this.
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