Matt Frewer’s Max Durbin from Dead Fire has problems. He enjoys the company of his deceased mother, gumming up scenes, and licking the necks of women he just met. Now, he has recently broken out of a futuristic prison and is on a crusade to capture a cryonics facility named the USS Legacy which is orbiting what’s left of the Earth. We can say, he is a messianic criminal mastermind.
Next we meet an antihero, Cal Brody, at the ass-end of the legacy. Unlike the rest, he is a misunderstood character who can be compared to Adrian Paul and Christian Bale. In fact, he is playing the role of John McClane, so he does not look like Bruce Willis, the star of Die Hard. He is a soldier turning rogue and will save the day by single handedly taking the station back.
Let me clarify, he will be doing it single-handedly with the ‘help’ of two misfits. One of them, Monica Schnarre, might be the most ill-fated scientist to be cast in a role until Christmas Jones in The World Is Not Enough. The only thing she is convincing at wearing is black lace lingerie.
Another, C. Thomas Howell in his triumphal cameo, depicts a character that seems to be the amalgamation of Colin Farrell and Dave Foley. Replicating them using only white hair. As a pyramid-breaker who has just come out of his cryogenic chambers. Because, yeah, somewhere in the future we are going to need those skills for particle physics eccentric, strange, and blundering physics.
Would Die Hard work better if the action took place on board a Star Trek roofie-controlled Accommodation ship? If yes, this is a good reason for you to rejoice. Not only was Dead Fire made for you, but did we assume you desire the outcome to be full of vacuous concepts, trite dialogues, egregious casting, hammy acting, and low production standards?
In this movie, characters tend to over-explain concepts that other characters should already know. The speech of every character is accompanied by a catchphrase, and of course, the famous one-liners. Some of these lines seem cringeworthy, because of the way they are presented. In one scene, the protagonist of the movie thanks someone who he just threw out of a window. This type of altitude humor does not work here.
All of this should be imbued with an absurd sense of “edge” and the result is pure comedy grotesque bravado, aggressive groping, exposed passenger profiles, pornographic groping, a violent lesbian, extreme aggression, and the aforementioned throat licking. It will only be more gay if there is a show region intermission.
Deliberate foolishness seems to me completely wrong, so it is easy to see why there is chaotic fun in the world.
The peculiar darkness reinforces my suspicion that the filmmakers must be hiding something, all apart from the lighting. Thus far, I’ve penned down approximately 430 critiques and none of them struck me to be as melancholic as this one, not even the rather gloomy Star Trek Generations. Thankfully, the basic props are self-illuminating. The guns have little red bulbs on the front, not laser sights, and the fluorescent green tubes are in place of the lumber-box cryopods.
Unbelievably, the visual effects are not too poorly executed, but even these do seem to contradict one another. Though compositing halos are quite evident against the back dark grounds, the external footage is quite reasonable and merges well with the actual film.
Yes, it is established it’s a terrible movie, but fortunately not so awful. What sets Dead Fire apart from other vile movies is at least the mindless fun is indeed fun. In its own splendid delightful way, yes, it is a bad movie, but not overly.
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