![]() The setting is an obstacle with agency, a force almost as unstoppable as Sylvester Stallone himself. ![]() Here, with Cliffhanger, nature is at its most active in the story, becoming just as much of an antagonist as it is a setting. ![]() His big three action blockbusters always involved underdogs going up against lethal, well-trained villains, and he would stage savage action against snowy backdrops, seemingly to contrast the violence of man with the beauty of nature. He’s one of the best action filmmakers of his time, staging dangerous-looking analogue action and glorious practical effects and stunts with aplomb, but bringing such a grounded formalism to his work. Sure, he might ape McTiernan a bit, but he’s also got his own thing going on, this semi-indescribable style that’s all his own. Harlin’s films are incredibly sturdy (his first three, at least), and in the 90s, he pulled off one of the greatest hat tricks we’ve seen with Die Hard 2 in 1990, Cliffhanger in 1993, and The Long Kiss Goodnight in 1996. I think it’s time that we started appreciating Renny Harlin as much as we appreciate the action movie greats, namely John McTiernan, Tony Scott, James Cameron, and others. The Simple, Mountain Man Beauty of Cliffhanger
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