The Big Score (1983)

This movie was further down on my to review list, but when I did Blood Street with Stack Pierce, who's also in this, I realized it had been a while since I'd done a Fred Williamson flick, and I'm always saying I need to do more Williamson, so why not bump it up the list and make it happen? In addition to us, our friend Mitch at the Video Vacuum has covered this, as has the great Roger Ebert, so you can go to their sites to see what they thought.

The Big Score is a Williamson Po' Boy Production where Williamson plays, you guessed it, a hard-nosed Chicago cop. In trying to take down a coke kingpin with fellow detectives John Saxon and Richard Roundtree, the baddie gets let loose through the work of his slick lawyer, and Williamson is under fire when the drug dealer's money goes missing. Now the baddies want their money back, and while the cops sort out what happen to it, boss Ed Lauter takes Williamson off the force, but for a cop like him, getting taken off the force is only a minor impediment. He's going to use all his resources, and stop at nothing to take down this baddie and get those drugs off the Chicago streets.

 

As you can tell from the synopsis, this is a pretty paint-by-numbers Williamson cop action thriller, but between the cast, and the story and direction, this worked for me. Williamson is a bit grittier here, I think he's going for more of a Chicago gritty cop story, and while I love cool as the other side of the pillow Williamson, this gritty Williamson works as a change of pace. John Saxon and Richard Roundtree are no strangers to this kind of movie either, and help fill out the vibe Williamson was going for, which makes it more authentic. At the same time, this is still fun Williamson, maybe not to the level of fun of his Dakota "Dak" Smith or Black Cobra movies, but I also think this might be a better quality of movie than those are. Either way, this is worth it for a nice Williamson night.

With this film, Williamson is now in a very exclusive club here at the DTVC, the 20-10 Club for people who have starred in 20+ films and directed 10+ films. How exclusive? Williamson is the only member. (If you're wondering, I think Dolph is the next closest, with his 60+ acting credits on the site, and 7 so far directed.) According to IMDb, Williamson has 20 films he's directed (plus one more that's been announced), and I think I've seen 13 or 14 of them--it would be more, but the version of Adios Amigos on Tubi is horrible, Vinegar Syndrome or a similar outlet needs to do a boxed set of his Westerns to correct that--but I'm digressing here, the point is, I think after Mean Johnny Barrows, which was his directorial debut, this might be my second favorite of his directed films that I've seen, which makes it a fitting one to make him the inaugural member of the 20-10 Club. The other big milestone for him is the 30 Club, and with this review he's now 5 away from that. I think for someone of his stature in the DTV world, that's a milestone that's long overdue, so hopefully we'll get there soon for him.

One of the biggest selling points in a Williamson film is the names he's managed to corral for it, and this one is no exception. Of those names, Richard Roundtree is one I always enjoy seeing. In the 80s he was pigeonholed by Hollywood into a "blaxploitation star," which gave Hollywood an excuse to not cast him as a leading man, despite the fact that he had the screen presence to rival any of the white leading men who were popular at that time. I think there's a sense when Williamson casts him in one of his lower-budget films that he also thinks "I shouldn't be able to get this guy in my movies, he should be too big for them." In 1983, we were a good ten to fifteen years out from names like Denzel Washington and Will Smith finally getting the kinds of roles Roundtree should've gotten. While we had him here though, one scene I really liked was where he acted opposite Stack Pierce. It was great to see those two in a scene together.

Among the other names, there were a bunch. I mentioned John Saxon, Stack Pierce, and Ed Lauter above. We also had Nancy Wilson, D'Urville Martin, Frank Pesce, Michael Dante, and Joe Spinell. Those kinds of names get us by when the Williamson film is lacking due to budgetary constraints, etc., so when the film is more solid like this one is, it just enhances it that much more. John Saxon in particular was great here, as he was made for grittier police films, usually as a baddie, but in this case a good guy as one of Williamson's fellow detectives. This is only his fifth film on the site, which sounds low, but as I was looking over his IMDb bio, that's actually about right based on the movies he's done. I don't know that I'll specifically look to get more of his films on here, but seeing his name on the tin always helps in picking out a movie to watch.

 

As I mentioned above, Roger Ebert also reviewed this, and while he only gave it 2 and a 1/2 stars, he actually enjoyed it. One mistake he made in his write-up is he confused Three the Hard Way with its sequel, One Down, Two to Go, but I got what he was saying when he compared this with that movie. I think we have this idea that the more mainstream critics don't get the stuff we watch, and for some that may be true, but Ebert showed in his review of this one that, at least for him, he can enjoy anything that's good and give it a fair shake. For me personally, I don't consider myself to be a film critic, but rather a movie blogger, whose only training was the writing courses I took in college--which themselves don't always show through when I'm pumping out a review with only one read through before I publish it--so I don't see myself as trying to swim in the same pond as an Ebert; but it is interesting how blogging, and now social media and podcasting, have democratized the film critique and discussion space to such an extent that I'm on IMDb and I'm seeing Roger Ebert's reviews mixed in with mine and fellow bloggers/reviewers that I've become friends with through this process. When I was a kid watching him with Gene Siskel, I never could've imagined that there would be things like blogs or an IMDb that could have allowed for that possibility.

And with that, let's wrap this up. As of right now, this is only available on YouTube and DVD, which is good enough, but hopefully it'll get the higher quality release it deserves. This is a solid Williamson outing, and worth checking out, especially if you're looking for more Williamson to watch.

For more info: https://www.imdb.com/title/tt0085245

And if you haven't yet, check out my new novel, A Girl and a Gun, at Amazon in paperback or Kindle!

Blood Street (1988)

This is one that's been in the can for a while, because I watched it way back when I did the Leo Fong episode of the Comeuppance Reviews podcast. I had the review scheduled for this date, and didn't even realize that it was coming after my work trip out to San Francisco, so there's some fun synergy there. In addition to us, our friends at Comeuppance have done this too.

Blood Street is about two rival gangs in San Francisco that are in the midst of a bloody war, one side run by an Italian mob boss and his two enforcers, Stack Pierce and Chuck Jeffrys, the other run by DTVC Hall of Famer Richard Norton. When the Italian guy's wife is trying to track him down, she hires Leo Fong, reprising his Sam Spade role of Joe Wong from Low Blow. No ham sandwiches here, but when Fong's involved, all bets are off, and as he starts to unravel what's happening here between these two gangs, he's getting himself in deeper--but that's worse for the baddies, not Fong. He's cleaning up these blood streets, and when he's done with them they'll never be the same! (Totally didn't rip that off the box tagline...)

This is a fun Fong joint, especially as a companion to Low Blow. Fong knows how to get after it, and guys like Norton, Pierce, and Jeffreys deliver as well. It has the hallmarks of a Fong film, not just with the budget and one-liners, but great martial arts and action. It's a bit on the brutal side, with the rival gangs massacring each other in ways that could hurt our modern US mass shooting sensitivities, but in 1988 the idea of someone going into a room with an assault rifle and taking out everyone inside wasn't considered a natural occurrence like it is now, it was the cartoonish over-the-top violence it was meant to be. On top of that, the San Francisco backdrop does a nice job mitigating the low-quality film stock used to shoot the film. This is the fun 80s Fong actioner you came for.

After doing our mini Rothrock celebration for her joining the 40 Club, it's only fitting that the next review after would be of her longtime collaborator and fellow DTVC Hall of Famer Richard Norton. He's on the cover of this one, but it's really Fong's film, and the cover having Norton like that is deceptive. He's not a hero cleaning up the streets of San Francisco, he's a baddie making them worse. This is now 23 films for him at the DTVC, but our first of his since May of 2021's review of The Kick Fighter. How did it take so long between Norton flicks? To be fair, we had two podcast episodes in September on Cynthia Rothrock movies that also talked about him a bunch, since he was in all 4 films as well, but still, a guy like Norton should have reviews more frequently, at least until we can get him into the 30 Club. What we get from him here is that late 80s DTV action stalwart who was one of the names that truly made the late 80s to early 90s the golden age it was. One of the best to do it, and we just need to get more of his flicks on the site to show that.

 

With Fong we're at even less, as this is his fourth film on the site. For me it's been a matter of getting into more of his stuff, and with the episode of Comeuppace I did on his films, I was given that impetus to finally make that happen. Fong's films, especially his ones from this period, are the kind of fun low-budget actioners that just have all the elements you need to work. Funny dialog, great martial arts, shootings and explosions, and the periodic goofiness that just ties it all together. Him playing this Sam Spade detective, complete with the hat and voice-overs, works in a way that's difficult to describe unless you've watched his stuff and understand the vibe he goes for in his films. I've just scratched the surface of the Fong-ster, so it'll be a fun ride as we discover his stuff together.

We had a great team up here of two other 80s/90s DTV actioner mainstays, Stack Pierce and Chuck Jeffreys. I think Pierce is playing Jeffrey's father, which didn't seem right for their ages, but when I looked them up, Pierce was born in '33, and Jeffreys in '58, so it actually worked. These two are common in Fong films, and they're great in this one as the Italian gangster's two main hatchet men. I think as far as getting more of their stuff up, for Jeffreys it'll definitely be in more Fong films, but with Pierce, he wasn't just a mainstay in Fong films, but he also did some Williamson films as well, so as we continue our mission to get more Williamson on the site, we'll be seeing more Pierce as well. They're the kind of guys who enhance a film like this, which is why these kinds of movies worked better than their modern counterparts.

As I mentioned above, I'm just getting back from a quick work trip to San Francisco. Not only has the city changed a lot since this film was made, it's changed a lot since I was there for an anthropology convention as an undergrad in 2000. The tech boom came in and raised the cost of living to such a degree that only New York in the US is more expensive to live in. It would be interesting to see a Blood Streets remade in this new environment. Maybe rival tech start-up gangs massacring each other. Stack Pierce and Fong are no longer with us, but Norton and Jeffreys as the baddie leaders? It could be a great antidote to the standard streaming service mini-series on whatever tech start-up billionaire that eventually crashed "spectacularly" played by this or that actor that everyone on Twitter is buzzing about. Maybe the detective could be played by Mark Dacascos--he could be a Hawaiian making sense of modern San Francisco. The script writes itself.

While more Fong is making it to streaming services, this one is currently only available on YouTube. The quality isn't great, but you could do a lot worse for a Saturday night, and hopefully soon we'll get that Blu-ray we deserve. Also, if you go into the Comeuppance archives, episode 67, "The Fong Show," is the one where we discussed his films.

For more info: https://www.imdb.com/title/tt0131979

And if you haven't yet, check out my new novel, A Girl and a Gun, at Amazon in paperback or Kindle!

Low Blow (1986)

This is one I did because I needed to get some more Leo Fong on the site. I don't know that anyone who does a site like we do couldn't need more Leo Fong on their site. In addition to us, our friend from Down Under Simon at Explosive Action has covered this, along with Karl from Fist of the B-List; and this is a Complete the Triangle post for us, as we join our friends at Comeuppance and The Video Vacuum in also reviewing this one.

Low Blow has Fong as a PI who's hired by a rich guy after the rich guy's daughter joins a cult. As is usually the case, things aren't exactly what they seem, as the cult's leader, Cameron Mitchell, is blind, and right under his nose his right-hand woman Karma is taking over power and turning the cult into a prison camp, along with the help of her henchmen, including the great Billy Blanks. Though this nefarious crew gets the drop on Fong initially, that only lasts so long before he escapes, recruits a crew of toughs of his own, Stack Pierce among them, and goes back to the compound to take care of business. These evil cultists won't know what hit them... actually they will, it'll be Leo Fong and his gang.

This is another one of those fun low-budget action bangers you came for. In looking at the other four reviews from colleagues I mentioned above, I think the one thing we were all in agreement on was this was just a fun time. The movie starts with him taking down robbers in a diner, saying "hey, is my ham sandwich ready?" when he enters, and then just shooting the bad guys, knocking one into a classic menu board with moveable letters that we don't see as much anymore. A lot of it after that is Fong in a Member's Only jacket, beating the crap out of people. How much more do you really want in a movie? Okay, then Cameron Mitchell as a cult leader, Billy Blanks as a cult tough, and Stack Pierce as an aging boxer/buddy of Fong's. Yes, by any objective measure, this has some obvious flaws, but in a way the flaws in and of themselves make the film that much more endearing. This is pure Fong trying to make the movie he wants to make on a shoestring budget, and I think for the most part he does what you need him to.

It's crazy to think that not only is this only the third Fong film on our site, but we also didn't even have a tag for him. I think the issue with Fong is a lot of his stuff isn't as available as some of the others, so I've left him, and now we're over 1100 reviews in and he's barely been covered. The good thing is, with the advent of YouTube, more of his stuff is available than it was--including this gem--so I have more of an opportunity to get more of his stuff reviewed. (The bad thing is, we just upgraded our Hulu to include Disney+ and ESPN+, and the volume of out-of-market NHL on ESPN+ is fantastic. It's like, I want to watch Blood Street on YouTube, but there's a Devils-Sabres game streaming followed by a Kings-Canucks game, what am I supposed to do?)

We last did a Billy Blanks movie on December 28th, 2011, so just over ten years ago. I think part of the reason for that is we had done just about every DTV film he'd done to that point, and since then he hasn't really done too much else. Here he doesn't really have a big role, and while he had a good fight with Fong, this is not a "Billy Blanks film" per se, it's more a Leo Fong movie that has Blanks in it; but when it comes to Blanks, we'll take 'em where we can get 'em--which is now 10 films on the site. In terms of a DTV Hall of Famer, it's hard to say, because the quantity isn't there; but could he be in the running for quality? Some of his leading parts in the 90s were some of the best of that era, which says a lot.

There's always this idea when it comes to cults that I'd never be susceptible to something like that, but yet, here I am obsessively cuing up multiple NHL games on ESPN+. I mean, what if former Bruins great Cam Neely DM'd me and started telling me about his new religion he's started? I'd definitely listen. Hell, if PJ Stock, or even Blaine Lacher reached out to me, I'd definitely listen. No, I'd be putty in their hands, it would only be a matter of time before I'm subjected to hard labor in a camp far from home and my wife is calling in Leo Fong to get me out. We don't really have the money for that kind of thing, so it's probably better I keep my mind sharp and aware and not think I'm so above this whole cult thing.

With this last paragraph I wanted was go over the great scene--or series of scenes--where three guys attack Fong, and not only does he dispatch them, but when they try to escape in their car, he disables it, smashes the windows, then dons some eye protection and uses a high-powered saw to cut off the roof of it and turn it into a convertible. This is why we come to movies like this, moments like these are what make it for us. I also think this is why modern DTV doesn't work when the quality is lower the way 80s ones did. There's an earnestness, even when it comes off silly, that just hits in a way that's entertaining. What's nice now is a lot of these are available on YouTube, so you don't need to scramble on the secondary VHS market to find them.

And with that, let's wrap this up. As of this writing, this is now available on Tubi. Before that, and probably after that when Tubi eventually takes it down, it's also available on YouTube. However you see it, it's a fun time.

For more info: https://www.imdb.com/title/tt0091442

And if you haven't yet, check out my new novel, A Girl and a Gun, at Amazon in paperback or Kindle!

 

 

 

24 Hours to Midnight (1985)

In our continuing mission to get all of Cynthia Rothrock's films on the site, we've been delving more into her earlier work, much of which was in Hong Kong, and much of which is now available to stream on YouTube; and that's how we ended up here with this film, though it actually wasn't made in Hong Kong, but rather made here in the US by Leo Fong. It also has the reputation of being Rothrock's first film role, which makes what it ended up being all that more fascinating. In addition to us, our friends at Cool Target have reviewed this, so you can go there to see what they thought. Now, without any further ado.

24 Hours to Midnight has Rothrock as a woman whose husband is murdered by drug kingpin White Powder Chan, played by Stack Pierce. She then metamorphosizes into a different woman, dons a ninja costume, and starts picking off his crew and everyone involved with him. At the same time, two cops are on the trail, trying to figure out who this mysterious figure who's doing their dirty work for them.Will they be able to stop "Rothrock's" murderous crime spree? Do they even want to?

 

You probably have a sense of where I'm going to go with this one. I'm watching it, and Rothrock is sobbing over the death of her husband, then we're in a hotel room, where this other woman has a ninja mask on, and after a moment I realize she's supposed to be Rothrock! We've heard of Fake Shemps, but this is another level. I tried to get a sense of what happened here, and best I could find out (via Wikipedia and a user review on IMDb by the person who said he cut the films together), Rothrock had a dispute with the producers and pulled out of the production. That footage was then shelved until they added in De'Ann Power, put her in a ninja suit, and had her be Rothrock's character. It's that kind of extreme gonzo approach to film making that we love here at the DTVC, but it was also exceedingly ludicrous that they would go to those lengths to do something with their old Rothrock footage. Where does that leave us then? I think as a quirk in Rothrock's career this is a fun deal. Definitely not something someone should choose if they're just starting with her films, but after you've seen 30 of them or so, this is fun for the novelty factor.

And we have done over 30 Rothrock films. This is number 36 to be exact. While according to IMDb she has some upcoming films in various stages of production, a lot of what we have left is her earlier stuff like this. Most of it was made in Hong Kong, and is really great; this on the other hand is really just here for the novelty of her having old footage paired with another woman in a ninja suit. I went to her YouTube to see if she had any backstory on this, and couldn't find anything--at least not in a title, she may have mentioned it in a video about something else. This certainly wouldn't make any Rothrock best of lists, but as we're trying to get all of her films on the site, something like this definitely has a place as a unique entry, in part because it's her first film, and in part because most of it isn't even her!

 

We've been exposed to the cinematic repurposings of Godfrey Ho, and I think that's where the mind goes first when we see something like this. Richard Harrison thought he was doing two ninja movies, and ended up in 20, right? The difference though is that Harrison was always Harrison, right? He may have been edited into other movies, but I don't think anyone else was pretending to be him in a ninja costume. Here we have this woman who definitely isn't Rothrock standing in as her, and we're supposed to accept that it's her when it so obviously isn't. It's a bait-and-switch the likes of which we've never really seen here before. We've seen where an actor is on the cover and then they're barely in the movie, but we've never seen that actor's character portrayed by someone else. Imagine Bruce Willis or Eric Roberts in a movie for five minutes of screen time, and then the rest of the film their part is played by someone in a costume that really isn't him? In a way, it's actually kind of fantastic to think about. Like we could make a new Batman movie with Bruce Willis as Bruce Wayne for like ten minutes of shooting that gets recycled throughout the film, and then have a stuntman like they did in Batman: Dead End portray the Caped Crusader. The idea is too amazing for words.

I looked, and I believe the only other Leo Fong film we've done was Fight to Win--which also starred Cynthia Rothrock, so it sounds like whatever issues Rothrock had were only with the producers and not Fong himself. I think what happens with him is his films are lower down the quality spectrum, so unless they have a name like Rothrock involved, I end up passing them over for Dolph or Seagal films. That in and of itself explains why they would go through the trouble to dig up old Rothrock footage and repurpose it in a movie she's no longer in so they can splash her picture on the cover and call it a "Rothrock film" (and, according to the reviewer on IMDb who told his story of having to get that footage, he said he hurt his back in the process and is still having issues with it). Without Rothrock, I'm probably not covering this, and other people probably aren't watching it.

 

Finally, we've been using this penultimate paragraph lately to spotlight supporting cast members who make these films what they are, and in that spirit, I felt it was necessary to give some shine to Stack Pierce, who plays White Powder Chan. He's a fantastic character actor who's done everything from B movies to big screen productions to network TV shows. Here he's a great baddie who, under normal circumstances, would be making the film a success, but in this case he's helping to paper over a massive hole in the wall in the form of a ninja woman who obviously isn't Cynthia Rothrock being passed off as her. Even a talent like Pierce can only do so much, and this probably was too much for him to overcome. Here's to you Stack Pierce, you were one of the great ones.

And with that, let's wrap this up. You can stream this for free on YouTube, and I feel like that's the best way to go. We've seen a variety of bait-and-switches here at the DTVC, but none so audacious or hilarious. This is why we celebrate DTV films, and why you come here to discuss them, for film making quirks like this that you can't find anywhere else in the industry.

For more info: https://www.imdb.com/title/tt0083509

The Messenger (1986)

With the Kansas City Chiefs playing in their first Super Bowl since they won Super Bowl IV, I thought I'd do a post featuring our favorite NFL DTVC Hall of Famer, Fred Williamson, who played in the first Super Bowl for the Chiefs. The story went that he had his infamous move, "The Hammer," which would knock out opposing players.  Unfortunately though it was he who was knocked out in the first half after he was hit by a member of the Green Bay Packers. Fortunately though for us, he had the last laugh, which is a fantastic second career in DTV movies like this. Also, our friends Ty and Brett at Comeuppance Reviews has looked at this as well, so you can go over there to see what they thought.

The Messenger has Williamson as Jake Sebastian, a man who has just gotten out of prison in Italy and is excited to see his girlfriend. Turns out said girlfriend is involved in the Italian coke trade, and she's upset some really powerful people. After leaving a party, those powerful people meet them outside and hose down his girlfriend with an uzi. Now he wants his revenge, and he's going to take down everyone in Italy and America whose involved in the coke ring.

This was a pretty fantastic 80s Italian action production. Williamson was as great as you'd want, plus the supporting cast included Cameron Mitchell, Christopher Connelly, and Stack Pierce, guys you watch something like this for and are stoked to see when they're there. The action wasn't bad, there weren't many dull moments, and when we didn't have action, we had guys like Williamson, Mitchell, Connelly, and Pierce who could carry the scenes and keep them fun. Not only that, the film had this early 80s R&B soundtrack that made me want to dig up Peabo Bryson and James Ingram playlists on YouTube. If you're looking for a low-budget 80s Italian actioner, this is a great choice, especially if you're binging on a few at once.

As always, we lead off with our Hall of Famer, and Williamson not only stars in this one, he wrote the story, and directs and produces as well. With this being the weekend of the Super Bowl, one thing that's great to look at with Williamson is how, for most people, his football career would have been the thing to hang his hat on, and anyone who lived that alone would have felt lucky to have done that; but Williamson has gone on to have a 50+ year acting career after that, and he's still going! This is my first Williamson flick since I came back from hiatus, so we'll try to keep the ball rolling from here and get more up, but this was a great one to bring him back with. Between his martial arts, his leather outfits, and his too sweet mustache, this is 100% Pure Hammer. Here's to you Mr. Williamson, you're one of the great ones, and a true Hall of Famer.

Knowing I was going to do one paragraph to cover both Cameron Mitchell and Christopher Connelly, I tried to find an image that had both of them in it, and this was the best I could do. Mitchell played an LAPD detective investigating drug crimes, and Connelly the FBI agent leaning on him for information so they could bring Williamson to justice while he was taking out all the "drug gangsters," and most of their scenes were one alone on screen yelling at the other, and then the other alone on screen responding. It doesn't matter, as I mentioned above, these are guys we come to movies like this for, and they didn't disappoint, but the fact that they were interacting with each other in almost every scene they were in made it even better. Like Pacino and De Niro in Heat, only in a family pack amount. Also, Stack Pierce (not shown), was Mitchell's partner on the LAPD, and he and Mitchell were great together, as always.

One of the things I've talked about in my Steve James posts is how James didn't get the leading roles he should have, often losing out to white actors, like when Dudikoff was cast as the lead in American Ninja despite having no martial arts skills and James was an expert martial artist. Unfortunately James passed away as he was starting to get more of those leading roles; but we see in a film like this how Williamson also had to go outside the usual avenues to get the roles he wanted and tell the stories he wanted to tell. Williams not only starred, he directed, produced, and wrote the story for The Messenger. It was like, if the industry won't give me the parts I want, I'll have to make them. To underscore again how sad it is that we lost James so young, Williamson turned 41 in 1979, and look at how much he's put out since that we love, and which we've been really lucky to have.

This movie, and this blog post, have been brought to you by King Cobra malt liquor. How amazing is that? In another scene, Williamson and his buddy (the guy above) were sitting at a table, and there was a case of it with them. I haven't had it in a long time, so I googled it, and found that they've changed the logo and bottle! What a shame? I also discovered old magazine ads with Williamson while I was searching, which are amazing. I used to drink a lot of 40s when I was younger, whether King Cobra, Colt 45, or Bull Ice. Two of those and a joint, and the next thing I'd know I was waking up in a bathtub full of ice in an Eastern European dive motel minus my kidneys. Man what great times those were! And Anheuser-Busch, if you're listening, I would love to have King Cobra as our official sponsor, and would do all I can to pitch your fine product. If you want to reach out, you can use the email at the top of the site. I look forward to hearing from you!

Okay, better to wrap this up now, as we're really going off the rails here. This is available on Prime, and also can be found on YouTube. If you in the mood for either Fred Williamson, an 80s Italian actioner, or both, this is the flick for you. As an aside, I'm posting the link to this on IMDb, but it's almost impossible to find on there by searching. You need to look up Fred Williamson first, then find it in his filmography.

For more info: https://www.imdb.com/title/tt0185495

Looking for more action? Check out my short action novel, Bainbridge, and all my other novels, over at my author's page! Click on the image below, go to https://www.matthewpoirierauthor.com/