Vengeance drives a tough Detroit cop to stay on the trail of a power-hungry auto magnate who is systematically eliminating his competition.Vengeance drives a tough Detroit cop to stay on the trail of a power-hungry auto magnate who is systematically eliminating his competition.Vengeance drives a tough Detroit cop to stay on the trail of a power-hungry auto magnate who is systematically eliminating his competition.
- Awards
- 2 nominations total
Tom Wilson
- Officer Kornblau
- (as Thomas F. Wilson)
- Director
- Writer
- All cast & crew
- Production, box office & more at IMDbPro
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Featured reviews
not a bad movie
Carl Weathers gets a chance to be an action hero in this very enjoyable 80's action movie. There are plenty of fist fights, explosions, car crashes, and other action in this one, and I thought Weathers did a good job in this film. The scene when he outruns a cab and rides on the roof of it was kinda dumb but still entertaining. Craig T. Nelson does a good job as the bad guy. There are plenty of familiar faces in this one including Sharon Stone, Bill Duke, Ed O'Ross, Sonny Landham, and many more. In all, a recommended film, not the best action film of the 80's, but still a fun one. 3.5/5
the return of the black action hero
I did a quick search on the internet to see if my memory served me right, and apparently it has. By 1981, the Blaxploitation action film was exhausted. - Although Fred Williamson had made a couple of action films in the mid-'80s, these don't really count, because Williamson can't act and can't direct.
The good news was that African-American cinema could say farewell to a stereotype; the bad news was that Hollywood wanted to find some way to say farewell to African-American cinema. The mid-'80s were lean years for anyone with dark-skin in Hollywood.
One of the problems had been that people critical of blaxploitation had missed the fact that Hollywood only does two type of films with any regularity, the action film (Western, Sci-Fi, crime, etc.) and the sit-com (domestic comedy). The notion that Hollywood does dramatic or otherwise serious films is a myth Hollywood likes to drag out at the Academy Awards. So if you're not making action films or comedies, you're not in Hollywood.
By the late '80s it was clear to everyone that African Americans (now constituting a sizable portion of regular movie audiences) were going to have to be represented on film again. But by then it was also clear that this audience wasn't going to tolerate being relegated to pimp and gang roles, at least not completely. For one thing, Eddie Murphy had broken the blaxploitation mold in 48 Hours and Beverly Hills Cop. I don't think anybody realizes that Murphy's roles in these films are a basic blaxploitation stereotypes, because Murphy clearly wasn't going to let himself be stereotyped. Murphy's popularity and savvy probably caused more anxiety than the anger of Melvin Van Peebles or Richard Pryor ever had, because it was clear that he was there to make money, something Hollywood could really understand.
At any rate: In 1988 the Wayans produced I'm Gonna Git You Sucka, a knock-down parody of the blaxploitation genre that pretty much assured that it would never raise its afro-covered head again. But it was still clear that African Americans needed a new action hero; so enter Action Jackson.
The reason why this film is not better remembered as the return of the black action hero is clearly because of the script. This is paint-by-numbers formula movie-making; this script has been written and filmed a hundred times, and every action star in Hollywood has appeared in some version of it, all of the Baldwin brothers in turn, Sly Stallone, Kirk Russell, Seagal, Schwarzenegger, Brandon Lee - I'm sure the reader can fill in the titles of each actor's version, regardless how unmemorable the films may have been. This formula was a kind of rite-of-passage for anyone wanting to make action films in the late '80s - early '90s. So why not Carl Weathers?
Actually, Weathers' performance in this film is quite good. It's hard to come up with a bone-breaking/rule-breaking cop who also happens to be suave and savvy (think part Dirty Harry, part James Bond), but Weathers nearly pulls it off. The decision not to play him with a 'black-english' accent and with no chip on his shoulder were exactly the qualities needed to leave the whole blaxploitation question away from the film at the time it was made. There are also some important ethnic transgressions here - we first find Vanity as the new mistress of the white bad-guy, whereas it's clear that Sharon stone's character has had a fling with Carl weathers'. Essentially, then, the film portrays a fantasy Detroit, where racism has indeed become a thing of the past that its all but forgotten. If only that were really true! But, again, that was exactly what was needed to get African Americans back into action films - i.e., back into Hollywood.
The direction of the film is fairly tight. The characters are so two dimensional, it may not be noticeable but the performances are all pretty solid; the whole film is professionally produced and presented. Also, two years before everybody in America would discover who Jackie Chan was and that he came from somewhere called Hong Kong, there are some terrific stunts in this film. And I noticed that other critics have reported that both Sharon Stone and Vanity get naked in this movie; frankly, I find such comments tasteless. On the other hand, there's no denying the attraction some men will feel for such important examples of women taking proper care of their health.
But the main point is, the film should be preserved if for now other reason, than because it was indeed the return to the mainstream of the strong African-American male hero; and we still need that in the cinema, and always have.
The good news was that African-American cinema could say farewell to a stereotype; the bad news was that Hollywood wanted to find some way to say farewell to African-American cinema. The mid-'80s were lean years for anyone with dark-skin in Hollywood.
One of the problems had been that people critical of blaxploitation had missed the fact that Hollywood only does two type of films with any regularity, the action film (Western, Sci-Fi, crime, etc.) and the sit-com (domestic comedy). The notion that Hollywood does dramatic or otherwise serious films is a myth Hollywood likes to drag out at the Academy Awards. So if you're not making action films or comedies, you're not in Hollywood.
By the late '80s it was clear to everyone that African Americans (now constituting a sizable portion of regular movie audiences) were going to have to be represented on film again. But by then it was also clear that this audience wasn't going to tolerate being relegated to pimp and gang roles, at least not completely. For one thing, Eddie Murphy had broken the blaxploitation mold in 48 Hours and Beverly Hills Cop. I don't think anybody realizes that Murphy's roles in these films are a basic blaxploitation stereotypes, because Murphy clearly wasn't going to let himself be stereotyped. Murphy's popularity and savvy probably caused more anxiety than the anger of Melvin Van Peebles or Richard Pryor ever had, because it was clear that he was there to make money, something Hollywood could really understand.
At any rate: In 1988 the Wayans produced I'm Gonna Git You Sucka, a knock-down parody of the blaxploitation genre that pretty much assured that it would never raise its afro-covered head again. But it was still clear that African Americans needed a new action hero; so enter Action Jackson.
The reason why this film is not better remembered as the return of the black action hero is clearly because of the script. This is paint-by-numbers formula movie-making; this script has been written and filmed a hundred times, and every action star in Hollywood has appeared in some version of it, all of the Baldwin brothers in turn, Sly Stallone, Kirk Russell, Seagal, Schwarzenegger, Brandon Lee - I'm sure the reader can fill in the titles of each actor's version, regardless how unmemorable the films may have been. This formula was a kind of rite-of-passage for anyone wanting to make action films in the late '80s - early '90s. So why not Carl Weathers?
Actually, Weathers' performance in this film is quite good. It's hard to come up with a bone-breaking/rule-breaking cop who also happens to be suave and savvy (think part Dirty Harry, part James Bond), but Weathers nearly pulls it off. The decision not to play him with a 'black-english' accent and with no chip on his shoulder were exactly the qualities needed to leave the whole blaxploitation question away from the film at the time it was made. There are also some important ethnic transgressions here - we first find Vanity as the new mistress of the white bad-guy, whereas it's clear that Sharon stone's character has had a fling with Carl weathers'. Essentially, then, the film portrays a fantasy Detroit, where racism has indeed become a thing of the past that its all but forgotten. If only that were really true! But, again, that was exactly what was needed to get African Americans back into action films - i.e., back into Hollywood.
The direction of the film is fairly tight. The characters are so two dimensional, it may not be noticeable but the performances are all pretty solid; the whole film is professionally produced and presented. Also, two years before everybody in America would discover who Jackie Chan was and that he came from somewhere called Hong Kong, there are some terrific stunts in this film. And I noticed that other critics have reported that both Sharon Stone and Vanity get naked in this movie; frankly, I find such comments tasteless. On the other hand, there's no denying the attraction some men will feel for such important examples of women taking proper care of their health.
But the main point is, the film should be preserved if for now other reason, than because it was indeed the return to the mainstream of the strong African-American male hero; and we still need that in the cinema, and always have.
Great 80s Fun
Okay, now what isn't there to like about a movie that stars Carl Weathers, Craig T. Nelson, a young Sharon Stone (scrumptious), Bill Duke, Vanity (good googly moogly) and tons of other recognizable 80s actors? Nothing! This movie rules. In the words of my roommate, "you come for Carl Weathers and you stay for Craig T Nelson." Carl Weathers is great as straight ahead copper Action Jackson, but Craig T Nelson steals the show here as the evil Mr. Delaplane. He is such a twisted jerk that being the richest man in Detroit and having a young Sharon Stone as his wife isn't enough, he needs to shoot Vanity full of heroin, too. (Side note: Vanity was extremely strung out on crack cocaine at this time, read Motley Crue's book: "The Dirt" for more info.) The action and laughs are nonstop. If you love dumb 80s big budget action, this is a must see. 8/10.
Vanity Fans Take Note: Her Best Performance
Review dedicated to the "Vanity" fans out there, who now know her as Evangelist Denise Matthews. She plays a heroin addict, songstress named Sydney Ash. Once again, she plays a role that is similar to her situation in real life. Carl Weathers, a rogue cop who doesn't play by the rules, seeks her out as part of his research on a killer. Vanity glows in this role, and turns in a better performance than she gave in "The Last Dragon". It's not just her incredible beauty, which has been her calling card. There are moments in her performance where you see real depth and growth in her acting, and a promise of better performances to come. She held closely to her persona sex kitten formula after The Last Dragon, and we see it here to. We'll never know if she could have improved her craft, since she has become a born again Christian, vowing never to work in Hollywood again. She has a musical number, and you will not be disappointed. I recommend this movie as being fun, reckless and entertaining. I'm not an action movie fan, but I liked this movie. There were silly moments, but nothing too painful or embarrassing to watch. If nothing else, see this movie for Sharon Stone before she was "SHARON STONE". There is steamy female nudity for the obvious lead ladies, and blood and violence. If all that appeals to you, see this movie!
So bad it's good! Classic 80's nonsense!
There isn't much to say about this movie. It's so stereo-type 80's it's unreal! Carl Weathers (Rocky, Predator) plays Jericho 'Action' Jackson. Im just gonna leave it there because his name is just too damn awesome! This is full of explosions, fulls of fist fights, full of awful acting and one-liners and amazingly, has a half decent cast of big name 80's action stars like Bill Duke and Sonny Landham (both of whom appeared in Predator with Weathers and Arnold Schwarzenegger), and Robert Davy (Die Hard, Raw Deal, Predator 2). But the story is basically about Jackson, who has been demoted to a desk cop and hates it, and has to keep his old 'Action Jackson' rebellious days behind him if he want's to be promoted again. When he is trailing a sadistic businessman who is murdering all his union competition so he can take the head job, then you know his 'Action Jackson' gun-ho days are going to return to save the day! It really is fun, I recommend it completely.
Did you know
- TriviaCarl Weathers came up with the idea for the film on the set of Predator (1987), during conversations with producer Joel Silver about their shared love of 1970s blaxploitation films. The title was born after Weathers spoke to an Australian crew member about the project. To indicate his interest in working on the film, the crew member said, "I'm in like Action Jackson." Predator costars Bill Duke and Sonny Landham also appear in this film.
- GoofsWhen Jackson is on the roof of the taxi, the driver fires his gun through the roof, making several holes. When the taxi crashes a few seconds later, there are no holes.
- Quotes
Officer Kornblau: It was a regular fuck-o-rama at my place last night.
Officer Lack: Can the shit, Kornblau. There ain't been any pussy at your pad since your mother helped you move in. They oughta call your place the House of Whacks.
- Alternate versionsUK cinema and video versions were cut by 9 secs to remove shots of a butterfly knife being twirled and a topless woman's stabbed body, due to the BBFC's strict guidelines on knife violence at that time. The uncut version was finally passed by the BBFC in 2024 with a 15 rating (previous versions carried an 18 rating).
- SoundtracksHe Turned Me Out
Performed by The Pointer Sisters
Written by LeMel Humes (as Lemel Humes) and Mary Lee Kortes
Produced by Richard Perry
© 1987 MCA Music, Inc. / Warner-Tamerlane Music Corp. All rights reserved.
Courtesy of RCA Records
Details
- Release date
- Country of origin
- Language
- Also known as
- Acción Jackson
- Filming locations
- Renaissance Center, 100 Renaissance Center, Detroit, Michigan, USA(establishing shots, street scenes)
- Production companies
- See more company credits at IMDbPro
Box office
- Budget
- $7,000,000 (estimated)
- Gross US & Canada
- $20,256,975
- Opening weekend US & Canada
- $5,424,783
- Feb 15, 1988
- Gross worldwide
- $20,256,975
- Runtime
- 1h 36m(96 min)
- Sound mix
- Aspect ratio
- 1.85 : 1
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