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Knock Off
Having based so much of his career on the films from the region, Jean Claude Van Damme heads to Hong Kong itself for Knock Off. Set in the 72 hours running up to the British handover to China (and released a mere year after the actual event), the film's action centers around the colony's thriving bootleg business, tied in with a rather convoluted plot concerning the CIA, Russian Mafia, and an attempt to hold the United States ransom through covert attacks. The opening section unwisely tries Van Damme's hand at knockabout humor with partner Rob Schneider but merely proves that the star is severely lacking the sort of humorous touch that Arnold Schwarzenegger has so successfully utilized. Once Knock Off descends into more familiar Van Damme territory, the film--and its leading man--are on surer ground. There are a good deal of spectacular fight sequences, some amazing stunts, and a feisty female sparring partner in the form of Lela Rochen. Even the always-reliable Paul Sorvino pops up. Director Tsui Hark hits upon some interesting and initially invigorating visual effects but soon overdoes them, actually highlighting the lack of decent story rather than enhancing it. There is an incredible film to be made about this period in history but this isn't it. Knock Off is merely another undemanding, high-kicking, high-octane vehicle for Van Damme. --Phil Udell Nowhere to Run
Poor Rosanna Arquette ended up in this Van Damme potboiler about an escaped convict who moves onto the farm of a widow (Arquette) and her two kids. Stuff happens: a cop who likes her gets jealous and beats up the Muscles from Brussels (but only after handcuffing him), there's a fire in the barn, bad guys are trying to drive her away, etc. The story was first developed by screenwriter Joe Eszterhas (Basic Instinct) and the late director Richard Marquand (Eye of the Needle). Eszterhas wrote the script, but who knows what direction this story was originally going? Van Damme's best film is still Timecop, and this is a long way from the quality of that. --Tom Keogh
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