Terminal Velocity

In 1994 I had the good fortune to win a Gold Movie Pass from Birch Carroll and Coyle and Greater Union cinemas. Being a shift worker back then, I’d work in the evenings and go to the movies during the day (even if there wasn’t anything good on – hey, it was free). This is where I saw Terminal Velocity for the first time, during some midday session with six other people in the cinema. I used to really enjoy having a cinema practically to myself because you could go and sit miles from anyone, smuggle in food they didn’t serve (like cold pizza) and stretch out with all your crap on the two nearest seats.

Anyhow, I went back to see this film a couple of times and I hadn’t seen it in recent years until the DVD arrived on my doorstep this week. I was truly looking forward to it, as I had enjoyed it for what it was at the cinema; a fairly dumb action movie with Natassja Kinski and lots of big things blowing up (the fact there was little else showing that week may have helped a little too). So I pressed play and was gently reminded of those times as I was whisked away to another world; one of intrigue and parachutes and of Russian gold and José Cuervo. And Natassja Kinski.

"And right now we just want you to sit back, relax and enjoy your flight."

As long as you don’t expect too much, you’ll find at least something here to keep you entertained for 98 minutes. The story runs like this...

Experienced skydiver Ditch Brodie (Charlie Sheen) takes novice skydiver (Natassja Kinski) for her first jump, bewitched by the chance he might get her into bed. When she plummets to her doom, Ditch suddenly finds himself racing against time putting together clues to prove she didn’t die.

He soon learns the truth and it becomes another race against time to stop the bad Russian guys (played by decent Americans) from stealing all the Russian gold in America and using it to get into power in Russia and recommencing the Cold War.

Naturally, there are plenty of narrow escapes along the way that involve things like custom-built jet-trains, lots of parachuting and car chases. Oh and best throw in some gunfire and sporadic fight scenes while you're there.

It’s a bit of fun, provided you aren’t searching for a think piece and Sheen and Kinski work well together onscreen. Christopher McDonald plays the blonde-haired psycho to good effect, though he’s always good at the baddie. This time he gets to do more than just be the baddie, he gets to shoot guns and stab people and everything. Good for him.

The picture quality is incredibly clear. Delivered in 2.35:1 with the standard 16:9 anamorphic enhancement, Terminal Velocity makes full use of the huge open sky shots and sweeping aerial images of Arizona. So many good parts of this film are up in the sky and they all look dynamite. The only trouble with immense bands of sky in your movie is with film artefacts, and whilst this pic has its share, they're never a real problem, particularly in those sky shots. And I was looking for ‘em.

The flesh tones are all nice and even, as are the colour levels. Blacks are all true to life, although they can get a little gloopy in some dark interiors. Shadow does lose some detail and in the heavy night shots there are some MPEG artefacts and compression issues, but these are fleeting at worst. Also, the layer change at 59:57 is a bit obvious if you're looking for it. There is a definite single frame drop out as Kinski begins talking, although if you weren’t looking for it, you might never notice it.

A rich assembly of sound is delivered through the Dolby Digital 5.1 surround mix provided. With so many big noises in a movie the audio is so important, as we all know, and happily this film delivers well. There is no evidence of noise or static behind the soundscape and all dialogue (including some crap Russian accents by James Gandolfini and Christopher McDonald) is relatively clear and well spoken.

The sound effects are pretty hardcore with bunches of gunfire and booming explosions that tend to come from all directions. Whatever stock sound effects may exist are well hidden among the regular recorded sound, which is a plus. As to music, this has been well scored by Joel McNeely, appropriately building tension and suspense where necessary. The best example of this is when Ditch is in the power plant looking for a special micro-disc (or something) and the baddies turn up. Overall, another classic sound transfer from Buena Vista.

Unfortunately, not a single extra drops in from above. Not even the trailer jumping off a static line with red smoke things attached to its ankles.

Again, this is a fun action movie with some good lines and a nice chemistry between Kinski and Sheen. There’re plenty of things kerploding and people shooting and stabbing each other, which is hardly uncommon and always interesting. Gandolfini seems to be nurturing his later menace in this early incarnation of his bad guy personas and works well as the villain of the piece. Some competant acting (apart from dodgy accents) and a fast moving storyline keep the pace moving as the ending rushes up at us from below. Typical action movie stuff, but above the usual average.