Wednesday, February 08, 2017
The Perfect Weapon
And so did Speakman. Paramount may have been trying to groom its own Van Damme in the kenpo karate black belt, but THE PERFECT WEAPON opened in sixth place (well ahead of Richard Grieco’s IF LOOKS COULD KILL, at least), and Speakman’s next film two years later was for a dying Cannon. Speakman continued working in direct-to-video features, but not with prime scripts or directors. Behind-the-scenes whispers that Speakman could be difficult to work with probably didn’t help land good prospects either. THE PERFECT WEAPON, his only major theatrical production, remains Speakman’s best film.
Even so, THE PERFECT WEAPON is kind of a mess with KICKBOXER’s Mark DiSalle directing a routine screenplay by David Campbell Wilson (SUPERNOVA). Speakman’s romance with Mariska Hargitay (later an Emmy winner for LAW & ORDER: SPECIAL VICTIMS UNIT) was cut completely out of the picture, leaving the prominently billed Hargitay with zero dialogue. Also contributing unfortunately abbreviated performances are Cary-Hiroyuki Tagawa (PEARL HARBOR) and Clyde Kusatsu (IN THE LINE OF FIRE), indicating credited editor Wayne Wahrman (I AM LEGEND) may have taken a dislike to those two talented gentleman as well.
Speakman holds his own on-screen, considering he was hired for his impressive physical skills. Every action hero in television and movies now uses some sort of martial arts — usually faked through doubles and rat-tat-tat editing — but Speakman’s speed and agility as a screen fighter are the real deal, and DiSalle is smart enough to just point the camera and let his star do his thing.
Once you get past the dreary origin story that fills the opening reel, THE PERFECT WEAPON settles down as a perfectly acceptable action flick. Jeff Sanders (Speakman), long estranged from his father (Beau Starr) and brother (John Dye), both policemen, returns to Los Angeles’ “Koreatown,” where his mentor (Mako) is murdered by the Korean mob — specifically, the hulking Tanaka (Professor Toru Tanaka).
Deciding he’s the “perfect weapon” to avenge Mako, because his outsider status can open doors that the police can’t penetrate, Sanders kicks, punches, and smashes his way through a small Asian army to get to Yung (James Hong), the man at the top. With a Gary Chang score and Snap’s “The Power” laying a musical backdrop, THE PERFECT WEAPON surpasses its cheap look (“Koreatown” looks like a backlot) and narrative hiccups to deliver a surplus of authentically bone-crunching thrills.