Dolph Lundgren

Masters of the Universe

Planet Eternia and the Castle of Greyskull are under threat from the evil Skeletor who wants to take over the planet. A group of freedom fighters, led by the heroic He-Man are accidentally transported to Earth by a mysterious Cosmic Key which holds the power to make Skeletor all-powerful. Once on Earth, He-Man joins alliances with two teenagers as they attempt to find the key and return home.

A View to a Kill

Roger Moore's last outing as James Bond is evidence enough that it was time to pass the torch to another actor. Beset by crummy action (an out-of-control fire engine?) and featuring a fading Moore still trying to prop up his mannered idea of style, the film is largely interesting for Christopher Walken's quirky performance as a sort-of supervillain who wants to take out California's Silicon Valley. Grace Jones has a spookily interesting presence as a lethal associate of Walken's (and who, in the best Bond tradition, has sex with 007 before trying to kill him later), and Patrick Macnee (Steed!) has a warm if brief bit. Even directed by John Glen, who brought some crackle to the Moore years in the Bond franchise, this is a very slight effort. --Tom Keogh

Roger Moore makes his the final appearance as the Secret Service Agent James Bond in a VIEW TO A KILL. Her Majesty's Secret Service sends Bond to stop Madcap computer industrialist Max Zorin (Christopher Walken) from triggering a massive earthquake in silicon valley and annihilating the global computer market. With the help of geoligist Stacey Sutton (Tanya Roberts) Bond must contend with May Day (Grace Jones) and Zorin s endless supply of henchmen as he jet sets from Paris to San Francisco leaving a trail of empty martini glasses and broken Q-gadgets behind him. In the 14th installment of the 007 series director John Glen delivers an unforgettable and dazzling farewell vehicle for actor Roger Moore. Packed full of sex pot debutantes whizz bang gadgetry and cliffhanger action sequences VIEW TO A KILL is an unforgettable roller coaster ride.System Requirements:Running Time: 131 Mins.Format: DVD MOVIE Genre: ACTION/ADVENTURE Rating: PG UPC: 027616066374 Manufacturer No: M106639

Universal Soldier (Special Edition)

Rocky IV

East meets West when Rocky takes on a vicious Soviet fighter who literally killed his last opponent! Sylvester Stallone writes directs and stars in this war between nations in which the only battle is fought in a boxing ring.Rocky Balboa (Stallone) proudly holds the world heavyweight boxing championship but a new challenger has stepped forward: Drago (Dolph Lundgren) a six-foot-four-inch 261-pound fighter who has the backing of the Soviet Union. This time Rocky's training regimen takes him to icy Siberia where he prepares for a globally televised match in the heart of Moscow. But nothing can truly prepare him for what he's about to face a powerfully charged fight to the finish in which he must defend not only himself but also the honor of his country!System Requirements: Running Time 91 MinFormat: DVD MOVIE Genre: ACTION/ADVENTURE Rating: PG UPC: 027616915177 Manufacturer No: 1007436

It was time for Sylvester Stallone to say "enough, already" to the boxing hero he plays in the popular Rocky film series, but instead Stallone kept the saga going by pushing Rocky into Rambo territory. The 1985 Rocky IV finds the Italian stallion pitted against a seemingly unbeatable Russian monster named Drago (Dolph Lundgren) who lets his wife (Stallone's then-wife, Brigitte Nielsen) do all the talking. With a mighty punch, Drago has sent Rocky's former opponent and trainer Apollo Creed to an early grave, and the boxer responds with the ultimate challenge. Even the Russians are rooting for Rocky, so it's not hard to guess how the film ends. Despite Stallone's claims to the contrary, this installment was followed by Rocky V in 1990. --Jeff Shannon

The Punisher

First, a few facts. Dolph Lundgren expresses emotions ranging from stoic to, well, really stoic. There are holes in the story large enough to pilot the Exxon Valdez through without spilling a drop. And the film is littered with action movie clichés. But none of this matters. The Punisher succeeds because it stays true to its origins, the Marvel comic of the same name. Studio-engineered films such as Batman never quite capture the mixture of loyalty and betrayal, justice and revenge, moral ambiguity and emotional truth that are the hallmarks of the graphic novel. Films such as Darkman do. So does The Punisher. Lundgren plays Frank Castle, a dedicated policeman whose family was wiped out in a mob hit. He went underground (literally) and, as the Punisher, has been exacting his revenge, killing 125 mobsters in the past five years. But when the yakuza (Japanese Mafia) moves in on the mob's territory and kidnaps their children, it's up to the Punisher to rescue the kids. The action blazes, Lundgren (a former full-contact karate champ) moves with feral grace, the production design is a pleasure to watch, and director Mark Goldblatt (whose credits as editor include such big films as Starship Troopers and True Lies) has a clean, efficient style. --Geof Miller

Showdown in Little Tokyo

Showdown in Little Tokyo is a 1991 martial arts action-comedy that, in pitting Dolph Lundgren and Brandon Lee as L.A. cops against Japanese drug dealers, plays like a B-movie Tango and Cash or Lethal Weapon 2 (both released just two years before). Between career highs in Rocky IV (1985) and Universal Soldier (1992), Lundgren looked as if he might make it big at the box office, and clearly wanting to be the new Schwarzenegger he is here directed by Mark L Lester, who had earlier helmed Ah-nold's Commando (1985). In the event both actor and director headed for straight-to-video territory, while Lee (Bruce's son) went on to The Crow. The 75-minute running time suggests the studio lost confidence and seriously cut the movie though, as the space between the action is filled with nothing but cringe-inducing dialogue, thriller clichés, and Lundgren "romancing" Tia Carrere, it still makes sense. Basing its title on John Carpenter's 1986 fantasy-comedy Big Trouble in Little China and anticipating Rush Hour (1998), Showdown in Little Tokyo alternates between crude tongue-in-cheek moments and action so ludicrous it's unintentionally hilarious . A camp disaster that simply defies belief, this is so-bad-it's-good entertainment. --Gary S. Dalkin

Johnny Mnemonic

You might be tempted to call it "Johnny Moronic" after you've seen this illogical and derivative adaptation of William Gibson's cyberpunk short story (available in his book Burning Chrome), which is all the more depressing since Gibson himself wrote the screenplay. First you have to ask yourself why valuable top-secret electronic data would be stored in the "wet-wired" brain of a human courier (played by Keanu Reeves), who then transports the data from China to New Jersey as part of his last, most dangerous assignment. Surely there are better ways to transmit sensitive information, but since this is really just a conventional thriller with near-future design and spiffy special effects, Gibson and New York artist Robert Longo (making his directorial debut) are more interested in surface gloss and cyberpunk atmosphere. On that level the movie's fairly engaging, and Japanese film star Takeshi Kitano makes a pretty good villain, tracking Reeves down for the information in his data-packed brain. The movie also boasts an eclectic gallery of supporting players including rapper Ice-T, performance artist and rocker Henry Rollins, beefcake actor Dolph Lundgren, and transcontinental oddball Udo Kier. They can't stop this trip through virtual reality from being botched up, but sci-fi fans will certainly enjoy the echo of Gibson's fiction that remains on the screen. --Jeff Shannon

Men of War

Men of War stars tall, craggy Dolph Lundgren as a down-and-out commando who agrees to do another job because there's nothing else he knows how to do. He assembles a crack team and travels to an isolated Pacific island with orders to secure it for a mysterious business venture. But once there, he discovers an idyllic paradise with peaceful natives who welcome the mercenaries into their village. When Dolph learns what the venture is really about, he decides he's on the wrong side and, with part of his team, fights to defend the island from destruction. The first third of Men of War is drenched in sweaty machismo--the camera constantly lingers over rippling muscles and bruised skin during an endless bar fight. But once on the island, the mercenaries frolic sweetly with native children and the scenery is astoundingly beautiful (and beautifully filmed). A native who speaks English delivers some heavy-handed pacifist speeches. Then, as another team of more ruthless mercenaries arrive, the movie again turns into an ecstasy of gunshots and explosions--only, because of the genuinely charming middle third, there are actually some emotional stakes to the violence. Furthermore, the natives turn out to be not quite as peaceful as they presented themselves, adding some surprising layers to the movie's moral tone (likely due to the hand of co-screenwriter John Sayles, the man responsible for Brother from Another Planet and Lone Star). All in all, better looking and better written than any movie starring Dolph Lundgren has any right to be. --Bret Fetzer

Action hero Dolph Lundgren thrilled you in UNIVERSAL SOLDIER ... now he's back in the heart-stopping adventure MEN OF WAR! Lundgren is part of a topflight team of ex-Special Forces agents hired by ruthless con men. Their mission: to carry out a secret operation and overtake an exotic island that's loaded with precious jade. But once there, the agents -- led by Lundgren -- defect to defend the islanders against the savage attackers! It's nonstop action as Lundgren and his elite group wage war to defeat the deadly opposition at any cost. From the screenwriter of THE QUICK AND THE DEAD -- you'll love every hard-hitting minute.

Red Scorpion

Army of One (aka Joshua Tree)