Acceleration

Acceleration

Pretty straightforward by the book, direct-to-non-theatrical action movie, unnecessarily vague about the mission of its heroine – but not so much that there’s no room in the film for Sean Patrick Flanery as the titular villain who can be so bad that all other characters in the film can be horrid excuses of humanity and birds of a feather, but still likeable in a certain way.

We begin with a jumbled action sequence that gets all the creative juices flowing to place Natalie Burn (who is also the producer) and Dolph Lundgren inside a purple-lit club-esque room and then goes back in time with a “some hours earlier” story device to introduce a confused Rhona (Burn) in leather pants punching the undead in LA, as she rushes to open envelopes containing orders from her abducted son.

Vladik (Lundgren), the evil boss of all Hollywood corrupt bosses, has cockamoo kidnapped Rhona’s son, who she doesn’t hold that dear; the sad story of the film is about him owing a kabillion dollars to a gangster named Kane (Flanery), who has a soft spot for lemon meringue pies.

Well, I guess it’s a series of snapshots like this where Rhona shows up at what is clearly a wannabe criminal underground and where did they buy those cheap purple lamps anyway as she beats up or kills or flees from or steals from a series of pathetic lowlifes such as Al Sapienza and Danny Trejo and muscular MMA goons like Chuck Liddell and Quinton ‘Rampage’ Jackson.

Cut in vignettes of the narrative have Kane addressed and threatening his associates with extreme violence including a such cliché like a game of Russian roulette and postponing the chase that the prologue built up. The good guys are portrayed as having to combat really bad men to address the movie action convention of allowing assassins to shoot the almost irrelevant thugs first before and not the lead antagonist first.

Burn, who is a former ballerina, is good at the gorgeously staged fight sequences and is able to spin and kick and shoot people from unconventional angles, but when she has to deliver her lines that are mostly phone-calls in which she stays in place, she seems simply angry. Directed by Daniel Zerilli and co-writer Michael Merino.

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