Burt Reynold's might go low-key and solemn for his performance in "Malone", but when it came to delivering the action
it's a full-on assault. Slow-motion and shotgun = win-win. And that sequence is beautifully staged
for action fans. "Malone" is a moodily straight- face, if ridiculously plotted late 80s action fodder. Something very different to what Reynolds was participating in within this 80s period. Fans of "Sharky's Machine" might just dig it, because of the violence and a non-mugging Reynolds.
Still what stood out to me just how closely it followed Clint Eastwood's formula in the 1985 western "Pale Rider", especially the connection the between the young impressionable girl (the delightful Cynthia Gibb) and the ex-CIA hit-man drifter who unwillingly gets caught up a small town drama. That was a western, but here it takes a modern-day approach but the western vibe of a mysterious stranger coming into town lingers heavily. Someone escaping their past, trying to get by to only find themselves bringing unwanted attention. The script is rather slapdash and some story arches are questionable (main character's ability to heal), contrived and incredibly silly. Like that of Hutton's assassin, in what feels like nothing more than to push the plot along and add motivation.
Malone was a CIA hit-man who suddenly calls it quits despite the disapproval of his bosses. This leads him to hitting the road to escape his past, but he finds himself stranded in a small town when his car breaks down. For the time being he stays with the mechanic and his daughter until its repaired, but its not a peaceful stay as he comes to blows with a pitiless land developer with very ambitious political interest in seeing America weed out its traitors.
For most part "Malone" is predictable, stoic and casually paced with quick bursts of brutal, heated violence. However this all changes when it becomes personal for Reynold's hit-man, as the crackerjack climatic showdown feels like something out of a comic book James Bond outing. Nonetheless some scenes do pack a punch and the striking sequence of Reynold's coming out of the shadows to confront Cliff Robertson's callously patriotic bad-guy is a marvellous touch. You gotta love his paranoid ramblings and the extreme lengths he goes to. Robertson nails down the puppeteer character with great intent, despite a certain hammy glee to his grandeur viper illustration. There's some good support from the likes of Scott Wilson, Lauren Hutton, Kenneth McMillan, Alex Diakun, Phillip Anglim, Dennis Burkley and character actor Tracy Walter who has a very memorable encounter with the title character.
Director Harley Cokeliss' plain direction is sturdy without showing much style, despite his use of slow-motion and capturing shots of an attractive valley backdrop.
Going back to serious roots, Reynold's "Malone" is sober, tough and mindless action.
"Are you so important?"
Still what stood out to me just how closely it followed Clint Eastwood's formula in the 1985 western "Pale Rider", especially the connection the between the young impressionable girl (the delightful Cynthia Gibb) and the ex-CIA hit-man drifter who unwillingly gets caught up a small town drama. That was a western, but here it takes a modern-day approach but the western vibe of a mysterious stranger coming into town lingers heavily. Someone escaping their past, trying to get by to only find themselves bringing unwanted attention. The script is rather slapdash and some story arches are questionable (main character's ability to heal), contrived and incredibly silly. Like that of Hutton's assassin, in what feels like nothing more than to push the plot along and add motivation.
Malone was a CIA hit-man who suddenly calls it quits despite the disapproval of his bosses. This leads him to hitting the road to escape his past, but he finds himself stranded in a small town when his car breaks down. For the time being he stays with the mechanic and his daughter until its repaired, but its not a peaceful stay as he comes to blows with a pitiless land developer with very ambitious political interest in seeing America weed out its traitors.
For most part "Malone" is predictable, stoic and casually paced with quick bursts of brutal, heated violence. However this all changes when it becomes personal for Reynold's hit-man, as the crackerjack climatic showdown feels like something out of a comic book James Bond outing. Nonetheless some scenes do pack a punch and the striking sequence of Reynold's coming out of the shadows to confront Cliff Robertson's callously patriotic bad-guy is a marvellous touch. You gotta love his paranoid ramblings and the extreme lengths he goes to. Robertson nails down the puppeteer character with great intent, despite a certain hammy glee to his grandeur viper illustration. There's some good support from the likes of Scott Wilson, Lauren Hutton, Kenneth McMillan, Alex Diakun, Phillip Anglim, Dennis Burkley and character actor Tracy Walter who has a very memorable encounter with the title character.
Director Harley Cokeliss' plain direction is sturdy without showing much style, despite his use of slow-motion and capturing shots of an attractive valley backdrop.
Going back to serious roots, Reynold's "Malone" is sober, tough and mindless action.
"Are you so important?"