Robert Forster

‘The Delta Force’ force feeds too much amidst some decent procedural aspects

There are two ways by which one can watch and analyze director Menahem Golan’s The Delta Force. Both are worthy insofar as they put the film into context and help to explain what it does and how it tries to accomplish its aspirations. In neither instance however does the film get away scott free from, at times, head scratching decisions, other times ones that will easily make some viewers even feel rather dirty, and finally decisions that are just plain laughable, albeit in an enjoyable way.

LFF 2014: Cannon Films gets an affectionate profile in ‘Electric Boogaloo’

Australian documentarian Mark Hartley crafts his third vigorous valentine to exploitation cinema, alongside Not Quite Hollywood and Machete Maidens Unleashed!, with Electric Boogaloo, an explosive trawl through the snarling ferocity of Cannon Films before its inevitable bankruptcy in the early 1990s. Whilst the former documentary in the cycle celebrated the boom in Ozploitation cinema of the 1970s and 1980s, and Maidens! took a appreciative scan of the laxly monitored Philippine film factory, this time the viewfinder shifts to the excessive and action packed oeuvre of Israeli movie moguls Menahem Golan and Yoram Globus, whose 1979-founded company became an explosive production house in Hollywood during the Reagan-mandated 1980s. Much to the disgust of snooty critics and prestige-minded executives, Cannon (an apt name) forged repeated success due to their box office-incinerating brand of chaotic, cheap and politically dubious action and exploitation films, bringing the grim jaw lines of Chuck Norris, Charles Bronson and Sylvester Stallone to international markets.

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