(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“A police officer is brought out of suspended animation in prison to pursue an old ultra-violent nemesis who is loose in a non-violent future society.”
In spite of obstacles or circumstances, there are those films that – for reasons we probably don’t understand – simply work.
Typically, these pictures somehow surpass the sum of their parts, sometimes making the best use of a talent’s screen charisma or rugged machismo. Even though their scripts might suffer the occasional deficiency or silliness, the fact alone that the players properly played their parts – embracing the good, bad, and ugly – lift these works up, granting them a kind of ‘modern epic’ status despite the fact that defending such stories might be the source of a little embarrassment. We hate admitting that we enjoyed something others consider ‘less than worthy,’ but we nonetheless do it not out of any sense of personal responsibility but merely because we had an awful lot of fun with these movies; and we just can’t or won’t tolerate anyone suggesting we’re wrong for doing so.
That’s my upfront assessment of 1993’s Demolition Man.
On the one hand, this Sylvester Stallone formula picture could easily be dismissed as a bit of theatrical fluff, certainly not fit for the likes of an Academy Award winning actor, writer, and producer even though it’s made immeasurably stronger by his involvement. A goofy action movie script that works through some rather lazy or cheap humor, Demolition essentially is a series of action set pieces strung together somewhat loosely around a SciFi premise, and I doubt many think much about it when compared to Stallone’s catalogue of serious works like Rocky (1976), Rocky II (1979), Victory (1981), and First Blood (1982).
On the other hand, this was the 1990’s, and the star Stallone had kinda/sorta fallen on hard times commercially and critically. His signature masculinity didn’t do much to elevate the financial returns; and picture like Cobra (1986), Over The Top (1987), the horrible Rocky V (1990), and some stunningly insipid comedies like Oscar (1991) and Stop! Or My Mom Will Shoot (1992) had somewhat desecrated a screen legacy no one thought possible based on those earlier works. Fate being what it is, perhaps who was there better positioned to play the role of Detective John Spartan – an unabashed and unapologetic toxic male if ever there were waking up in a future wherein he literally was considered a Neanderthal for his good deeds?
From the film’s IMDB.com page citation:
“A police officer is brought out of suspended animation in prison to pursue an old ultra-violent nemesis who is loose in a non-violent future society.”
In spite of obstacles or circumstances, there are those films that – for reasons we probably don’t understand – simply work.
Typically, these pictures somehow surpass the sum of their parts, sometimes making the best use of a talent’s screen charisma or rugged machismo. Even though their scripts might suffer the occasional deficiency or silliness, the fact alone that the players properly played their parts – embracing the good, bad, and ugly – lift these works up, granting them a kind of ‘modern epic’ status despite the fact that defending such stories might be the source of a little embarrassment. We hate admitting that we enjoyed something others consider ‘less than worthy,’ but we nonetheless do it not out of any sense of personal responsibility but merely because we had an awful lot of fun with these movies; and we just can’t or won’t tolerate anyone suggesting we’re wrong for doing so.
That’s my upfront assessment of 1993’s Demolition Man.
On the one hand, this Sylvester Stallone formula picture could easily be dismissed as a bit of theatrical fluff, certainly not fit for the likes of an Academy Award winning actor, writer, and producer even though it’s made immeasurably stronger by his involvement. A goofy action movie script that works through some rather lazy or cheap humor, Demolition essentially is a series of action set pieces strung together somewhat loosely around a SciFi premise, and I doubt many think much about it when compared to Stallone’s catalogue of serious works like Rocky (1976), Rocky II (1979), Victory (1981), and First Blood (1982).
On the other hand, this was the 1990’s, and the star Stallone had kinda/sorta fallen on hard times commercially and critically. His signature masculinity didn’t do much to elevate the financial returns; and picture like Cobra (1986), Over The Top (1987), the horrible Rocky V (1990), and some stunningly insipid comedies like Oscar (1991) and Stop! Or My Mom Will Shoot (1992) had somewhat desecrated a screen legacy no one thought possible based on those earlier works. Fate being what it is, perhaps who was there better positioned to play the role of Detective John Spartan – an unabashed and unapologetic toxic male if ever there were waking up in a future wherein he literally was considered a Neanderthal for his good deeds?
Those of us in the audience watching were certainly in on the joke. This Stallone – in the guise of a character – was being cast aside precisely times were a’changin’, and the big screen macho heroes were no longer popular. As a consequence, the script from Peter M. Lenkov, Robert Reneau, and Daniel Waters saw the Ubermensch saving the day in its Dystopian opening and then placed into cryogenic isolation in reward and punishment for doing the deed. To the viewers, this wasn’t as much Spartan being penalized as it was Stallone being put on ice; so, yes, we were angered in response at seeing how callously the voices of authority were treating our screen hero. How could they do this? Didn’t they know who he was? This was Rambo. This was Rocky. Why oh why could they be turning their back on him.
And that’s the set-up for the ultimate joke.
In the not-too-distant Utopian future, it turns out that a little bit of John Spartan is exactly what they need. When the savior of tomorrow – Dr. Raymond Cocteau (Nigel Hawthorne) – thaws out a career criminal of legend – Simon Phoenix (Wesley Snipes) – to do the dirty work of eliminating his growing political opposition, then the San Angeles Police Department has no choice but to do the same in defrosting Spartan because – as the script says – “Send a maniac to catch one.” Of course, these two met in the past – it’s the dynamic and explosive stuff of the film’s opening sequence – so it stands to reason that they’re going to meet again: when they do, it’s screen magic, the type of which Stallone had already established a screen history.
Thankfully, the humor doesn’t stop simply with the thematic formula. Both Spartan and Phoenix – relics from a bygone age – walk about exploring San Angeles absolutely aghast at what the peacetime existence has done to us culturally. Police officers are no longer trained to handle violence. Taco Bell has become the pinnacle of dining. Any and all behaviors deemed inappropriate – including swearing, for Christ’s sake! – have been allowed, and violators are subject to fines. Even sex itself has been found ‘unnecessary,’ and copulation now takes place in a virtual world where human no longer touch or exchange fluids. So much of what makes us human beings has been eliminated in the name of social perfection; and these constant discoveries – along with Spartan and Phoenix’s reactions – give Demolition Man a thick layer of brilliant and instantly recognizable satire. Like the best action films ever made, this one is made for mass consumption, and it shows.
Added to the mix, actress Sandra Bullock managed to hold her own opposite the two big men in the whole production. While she had yet to emerge as a screen presence all of her own, the actress’ box office potential was just being discovered at the time of Demolition Man. In the role of Lieutenant Lenina Huxley, she imbues the screen with her legendary and wholesome ‘girl next door’ quality, serving as a comic foil to Stallone’s occasionally cynical stoicism. As she’s exposed to the dark developments along the way, she naturally begins to see that not all is as good and rosy as she was believed it was. Through her eyes, we – the audience – see that there are times when violence might be a necessary last resort; and it makes perfect sense. Though some might consider her performance bordering on camp, I think it rather deftly balances some light-hearted banter against some bold pyrotechnics, helping audiences appreciate a progressive mindset that embraces Paradise at all costs despite the fact that sometimes it makes one look damn silly.
And that’s the set-up for the ultimate joke.
In the not-too-distant Utopian future, it turns out that a little bit of John Spartan is exactly what they need. When the savior of tomorrow – Dr. Raymond Cocteau (Nigel Hawthorne) – thaws out a career criminal of legend – Simon Phoenix (Wesley Snipes) – to do the dirty work of eliminating his growing political opposition, then the San Angeles Police Department has no choice but to do the same in defrosting Spartan because – as the script says – “Send a maniac to catch one.” Of course, these two met in the past – it’s the dynamic and explosive stuff of the film’s opening sequence – so it stands to reason that they’re going to meet again: when they do, it’s screen magic, the type of which Stallone had already established a screen history.
Thankfully, the humor doesn’t stop simply with the thematic formula. Both Spartan and Phoenix – relics from a bygone age – walk about exploring San Angeles absolutely aghast at what the peacetime existence has done to us culturally. Police officers are no longer trained to handle violence. Taco Bell has become the pinnacle of dining. Any and all behaviors deemed inappropriate – including swearing, for Christ’s sake! – have been allowed, and violators are subject to fines. Even sex itself has been found ‘unnecessary,’ and copulation now takes place in a virtual world where human no longer touch or exchange fluids. So much of what makes us human beings has been eliminated in the name of social perfection; and these constant discoveries – along with Spartan and Phoenix’s reactions – give Demolition Man a thick layer of brilliant and instantly recognizable satire. Like the best action films ever made, this one is made for mass consumption, and it shows.
Added to the mix, actress Sandra Bullock managed to hold her own opposite the two big men in the whole production. While she had yet to emerge as a screen presence all of her own, the actress’ box office potential was just being discovered at the time of Demolition Man. In the role of Lieutenant Lenina Huxley, she imbues the screen with her legendary and wholesome ‘girl next door’ quality, serving as a comic foil to Stallone’s occasionally cynical stoicism. As she’s exposed to the dark developments along the way, she naturally begins to see that not all is as good and rosy as she was believed it was. Through her eyes, we – the audience – see that there are times when violence might be a necessary last resort; and it makes perfect sense. Though some might consider her performance bordering on camp, I think it rather deftly balances some light-hearted banter against some bold pyrotechnics, helping audiences appreciate a progressive mindset that embraces Paradise at all costs despite the fact that sometimes it makes one look damn silly.
Praise aside, Demo has a few weaknesses worthy of note as well.
For example, I’m a huge fan of actor, writer, and comedian Denis Leary, but he’s just flat-out all wrong here. Cast in the role of Edgar Friendly – the source of the political revolution against Utopia – he never quite sounds like a true renaissance man so much as he does a funnyman given a few snappy lines to demonstrate the cause for social upheaval. Benjamin Bratt, too, never quite fits comfortable in the shoes of the future cop who discovers he likes the way things were done back in Spartan’s day; sadly, his epiphany takes place offscreen, so when he shows up in the last reel embracing the ideals of free choice it feels manufactured instead of authentic. There’s also a cadre of thugs who get taken out of deep freeze at Phoenix’s request; about the time when one expects their arrival might foreshadow a twist in the plot it’s discovered that, no, they’re just a bunch of dumb heavies who are brought aboard to do nothing more than what dumb heavies do. That’s a disappointment.
But as the lion’s share of the action surrounds Stallone and Snipes, Demolition Man retains its power whenever they’re onscreen. They’ve both done this stuff before to an impressive degree, so it’s easy to see why their match-up works even when some of the written dialogue is a bit beneath them. In fact, I’ve often suggested that Demo feels very much like it may’ve started out in clear B-Movie territory – the kind of stuff that studios produce, realize it isn’t quite up-to-snuff, and they relegate it to either pay cable releases or even direct-to-DVD. Somewhere along the way – likely when Stallone and Snipes boarded it – everyone realized that these A-listers were doing what they were paid to do and then some, giving the entire feature a chance to defy the odds.
Alas, that wasn’t the case.
Reported to have cost around $58 million to make, the film grossed about just that in the U.S.; and it needed those international receipts to push the project to about $160 million worldwide. Even in those terms, Google.com indicates that the studio still never considered the project a commercial success of any kind. Not even its three 1994 Saturn Awards nominations – in the categories of ‘Best Special Effects,’ ‘Best Costumes,’ and ‘Best Science Fiction Film’ – generated the kind of buzz or praise that the studio felt the picture needed; and yet somehow – like some films just do – it survived those shortcomings, complaints, and misperceptions to be christened with solid Cult status.
Demolition Man (1993) was produced by Warner Bros. and Silver Pictures. DVD distribution (for this particular release) has been coordinated by the fine folks at Arrow Films. As for the technical specifications? While I’m no trained video expert, I found the provided sights-and-sounds to be exceptional across the board: yes, there’s a sequence or two with special effects a bit undercooked, but methinks that only adds to the appeal of the whole experience. Lastly, if you’re looking for special features? In order to be perfectly clear, I’m doing the reliable copy-and-paste from Arrow’s press release previously published on Blu-ray.com:
For example, I’m a huge fan of actor, writer, and comedian Denis Leary, but he’s just flat-out all wrong here. Cast in the role of Edgar Friendly – the source of the political revolution against Utopia – he never quite sounds like a true renaissance man so much as he does a funnyman given a few snappy lines to demonstrate the cause for social upheaval. Benjamin Bratt, too, never quite fits comfortable in the shoes of the future cop who discovers he likes the way things were done back in Spartan’s day; sadly, his epiphany takes place offscreen, so when he shows up in the last reel embracing the ideals of free choice it feels manufactured instead of authentic. There’s also a cadre of thugs who get taken out of deep freeze at Phoenix’s request; about the time when one expects their arrival might foreshadow a twist in the plot it’s discovered that, no, they’re just a bunch of dumb heavies who are brought aboard to do nothing more than what dumb heavies do. That’s a disappointment.
But as the lion’s share of the action surrounds Stallone and Snipes, Demolition Man retains its power whenever they’re onscreen. They’ve both done this stuff before to an impressive degree, so it’s easy to see why their match-up works even when some of the written dialogue is a bit beneath them. In fact, I’ve often suggested that Demo feels very much like it may’ve started out in clear B-Movie territory – the kind of stuff that studios produce, realize it isn’t quite up-to-snuff, and they relegate it to either pay cable releases or even direct-to-DVD. Somewhere along the way – likely when Stallone and Snipes boarded it – everyone realized that these A-listers were doing what they were paid to do and then some, giving the entire feature a chance to defy the odds.
Alas, that wasn’t the case.
Reported to have cost around $58 million to make, the film grossed about just that in the U.S.; and it needed those international receipts to push the project to about $160 million worldwide. Even in those terms, Google.com indicates that the studio still never considered the project a commercial success of any kind. Not even its three 1994 Saturn Awards nominations – in the categories of ‘Best Special Effects,’ ‘Best Costumes,’ and ‘Best Science Fiction Film’ – generated the kind of buzz or praise that the studio felt the picture needed; and yet somehow – like some films just do – it survived those shortcomings, complaints, and misperceptions to be christened with solid Cult status.
Demolition Man (1993) was produced by Warner Bros. and Silver Pictures. DVD distribution (for this particular release) has been coordinated by the fine folks at Arrow Films. As for the technical specifications? While I’m no trained video expert, I found the provided sights-and-sounds to be exceptional across the board: yes, there’s a sequence or two with special effects a bit undercooked, but methinks that only adds to the appeal of the whole experience. Lastly, if you’re looking for special features? In order to be perfectly clear, I’m doing the reliable copy-and-paste from Arrow’s press release previously published on Blu-ray.com:
- NEW 4K RESTORATION from the original 35mm camera negative by Arrow Films, approved by director Marco Brambilla
- DOLBY VISION/HDR PRESENTAITON OF THE FILM
- Includes both the domestic "Taco Bell" and international "Pizza Hut" versions of the film presented via seamless branching
- Original lossless DTS-HD MA 5.1 and Dolby Atmos audio options
- Optional English subtitles for the deaf and hard of hearing
- Brand new audio commentary by director Marco Brambilla and screenwriter Daniel Waters
- Brand new audio commentary by film historian Mike White of the Projection Booth podcast
- Archive audio commentary by Marco Brambilla and producer Joel Silver
- Demolition Design, a new interview with production designer David L. Snyder
- Cryo Action, a new interview with stunt coordinator Charles Percini
- Biggs' Body Shoppe, a new interview with special make-up effects artist Chris Biggs
- Tacos and Hockey Pucks, a new interview with body effects set coordinator Jeff Farley
- Somewhere Over the Rambo, a new visual essay by film scholar Josh Nelson
- Theatrical trailer
- Image gallery
- 60-page perfect bound collector's book featuring new writing by film critics Clem Bastow, William Bibbiani, Priscilla Page and Martyn Pedler
- Limited edition packaging featuring newly commissioned artwork by Laurie Greasley
- Double-sided fold-out poster featuring original and newly commissioned artwork by Laurie Greasley
- 6 postcard sized artcards
- 'Three Seashells' and 'Edgar Friendly graffiti' stickers
- Reversible sleeve featuring original and newly commissioned artwork by Laurie Greasley
As a bit of clarification, I’m only provided an industry copy of the disc when I receive these promotional releases, folks: as such, I cannot speak to the efficacy of the provided inserts, artwork, booklets, or anything else. Always consider those items “buyer beware” unless I specify differently. I can say that I’ve enjoyed all of the supporting video materials, and they’re quite good, especially the video essay from Josh Nelson. It’s a great spin on a genre film worth thinking about.
Strongly Recommended.
I’ll likely go to my grave arguing relentlessly that 1993’s Demolition Man is – without a doubt – the finest B-Movie ever given A-level treatment. Director Brambilla took a comedy-infused script, imbued it with a layer of satire, cast a few marquee names in central roles (along with a list of talented supporting players), and truly swung for the fences with this great entry into the world of Science Fiction and Fantasy. Though I’ll always gripe about cheap throwaway lines that could’ve been improved with either better delivery or another rewrite, Demolition tears down the house in all the right ways, giving the Italian Stallion perhaps his best attempt at cracking the genre that his screen buddy Schwarzenegger claimed dominance over for so long. While others still clamor for a sequel (I keep hearing one is in development), I’m all in favor of leaving this world in the near perfect condition it is.
In the interests of fairness, I’m pleased to disclose that the fine folks at Arrow Films provided me with a complimentary industry Blu-ray copy of Demolition Man (1993) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
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