Luc Devreux and Andrew Scott are US soldiers who kill each other in Vietnam when Devreux interferes with Scott’s slaughter of a friendly village. Listed as MIA, they are actually flash-frozen and shipped to a top-secret facility where a team of scientists led by Colonel Perry turn the two, along with other select specimens, into super-soldiers known as “UniSols.” While helping foil a terrorist takeover of the giant McKinley Dam, Devreux starts having flashbacks to his former life, and makes a break from his colleagues. The increasingly human Devreux teams up with TV reporter Veronica Roberts, while they are chased across much of the Midwest by Scott, and also by Perry and the police, who capture them long enough for Scott to find them. After a chase, thinking that they killed Scott in a truck crash, Veronica takes Devreux home to his parents in Louisiana, only to have Scott catch up with them for a brutal confrontation. —IMDb
Though he was raised on a steady diet of independent-minded German filmmakers like Rainer Werner Fassbinder and Wim Wenders, director Roland Emmerich aspired early in his career to make blockbuster Hollywood movies. After making a name for himself by helming “The Noah’s Ark Principle” (1981), the most expensive student film ever made in Germany, Emmerich crossed the Atlantic Ocean to make mainstream studio films. His first, “Universal Soldier” (1992), was an unexpected hit, which paved the way for him to direct his pet project, “Stargate” (1994). Along with writing and producing partner, Dean Devlin, Emmerich established himself as a resourceful sci-fi specialist who earned a reputation for meticulous preparation and remarkable cost-efficiency. Emmerich launched himself to the top of the Hollywood food chain with “Independence Day” (1996), a big, loud, sci-fi film that was long on computer-generated special effects but short on narrative and character development. Despite the campy… read more
Coheed is totally right in pointing out the supermarket seen. I consider it the most intelligent scene in cinema in depicting post-Vietnam veteran malaise/hopelessness. Otherwise, it is a Looney Toons variant on action cinema. Larger than life setpieces, an over-the-top Dolph, this is one of the 90s most entertaining films. Yet, one can already see the groundwork for the existential despair of John Hyams take on the franchise.
Probably one of the only Roland Emmerich I've seen in the last few years which has any good qualities to it. Dolph Lundgren's insane speech about Vietnam in a supermarket as a comrade is eating raw meat in the background was such an amusing and strange sight its the highlight of the whole film.
Dentro de la "genial" filmografia de Roland Emmerich, quizas esta cinta protagonizada por la pareja de higados Van Damme y Lundgren (quienes toda la vida han sido una especie de Schwarzenegger/Stallone en versión pa' los pobres) sea la única medianamente digerible. No quiere decir que sea buena, pero al menos es una pelicula sin mayores pretensiones que cuenta con algun par de buenas secuencias de acción. Eso si, por tratarse de su unica pelicula clasificación "C" hasta el momento, se hacen patentes ciertos momentos de "sex-explotaition" masculina (cosa que no extraña nada viniendo de parte de la jotita esta: es obvio iba a prefierir mostrar las nalgas de tlacoyo de Van Damme que las de Ally Walker, la coprotagonista femenina) en esta especie de (innecesario) hibrido entre Rambo y RoboCop. Lo que si resulto ser casi una mentada de madre, fue apreciar esta chulada ni más ni menos que en las instalaciones de la Cineteca Nacional (!!!) por alla de 1992, en una desangelada premiere de gala organizada por la Columbia Pictures. De no creer.