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Category: Tim Thomerson

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Plot: Charlie Case is a champion gymnast and a spy. Catch her if you can.

Hawaiian trash specialist Albert Pyun was never below stretching budgets, cutting corners were he could, and he had an affinity for making up projects on the spot. He had learned an important lesson on The Sword and the Sorcerer (1982) and Cyborg (1989): costumes, sets, props, and production design – all that stuff costs money. Why not set the action in a near-future where practically no extra work was required? Pyun was right on the money as the home video success of Nemesis (1992) would prove, and his follow-up Arcade (1993) was actually pretty ahead of its time. The big project Pyun was working on at the time was the cyberpunk/martial arts hybrid Heatseeker (1995). As these things tend to go, pre-production had been underway for some time but the project stalled for unknown reasons (in all likelihood having to do with money). Not one to sit around old Al packed up his cameras and shot one (or two) movies on the producers’ dime for as long as principal photography on Heatseeker (1995) was delayed. And so it was that Pyun shot Hong Kong 97 (1994) and Spitfire on the downtime. Lo and behold, thus the world got three Pyun romps for the price of one.

Giving credit where it is due old Al had an eye for spotting talent. He casted the practically unknown Borovnisa Blervaque in Nemesis (1992); the young, spunky and obviously talented Megan Ward in his Arcade (1993), and Spitfire (no idea what the title has to do with anything, but just roll with it) would be the star-making vehicle for Kristie Phillips. And who was miss Phillips? She was one of the most visible and publicized gymnasts in the mid-1980s. Kristie was on the cover of Sports Illustrated (September 1, 1986), crowned the 1987 senior U.S. National Champion, and on the fastlane to become one of the front-runners for the 1988 U.S. Olympic team. In short, Albert had found his star. Phillips was disciplined, flexible, and looked good in a leotard. Pyun would later introduce the world to Jill Pearce and Kimberly Warren with his Mean Guns (1997) and the ill-fated Blast (1997). The only thing needed now was a script. So Pyun, David Yorkin, and Christopher Borkgren set to outlining a halfway coherent premise on whatever napkins and empty pizza boxes that were lying around the office. That it just so happened to resemble Gymkata (1985) was purely coincidental, no doubt. Armed with something resembling a screenplay and his usual warm bodies filming began. The most creative thing about Spitfire is the Saul Bass inspired credit montage with Tina Cote furthering the idea that this really was supposed to be a James Bond knock-off.

In a luxurious resort philandering British secret agent Richard Charles (Lance Henriksen) has been spending quality time in the bedroom with his former paramour and CIA operative Amanda Case (Debra Jo Fondren). After the obligatory thrusting and fondling Case entrusts him with Ukrainian missile codes and bestows him with the knowledge that he has a daughter. The two are ambushed by Soviet spy Carla Davis (Sarah Douglas) and her henchmen (Robert Patrick and Brion James). Amanda ends up taking a bullet while Charles manages to escape with his jetpack. Meanwhile in Rome, Italy gymnast and martial arts enthusiast Charlie Case (Kristie Phillips) and drunken and disgraced reporter Rex Beechum (Tim Thomerson) both are at the sports complex. She’s preparing for the semi-finals in Kuala Lumpur, Malaysia and the world finals in Athens, Greece and he’s looking for the next big scoop. After the first round Charlie happens to see Richard surrender to Soviet spies and in the confusion the spy is able to slip a disc containing nuclear launch codes in her bag. Believing to have witnessed an exchange of steroids Beechum pesters Charlie on the particulars. With the clock ticking the high-kicking hottie and the permanently drunk reporter must stay out of the clutches of enemy operatives, obtain a key with help of Charlie’s spy half-brother Alain (Simon Poland), deliver them to her other half-brother Chan in Hong Kong, and rescue her father from the encroaching Soviet spies. On top of all that Charlie and Rex have to remain on schedule to partake in the tournaments in Malaysia and Greece.

As for the rest of the cast outside of Lance Henriksen and Kristie Phillips the usual suspects are all here. Tim Thomerson, Brion James, Chad Stahelski, and Simon Poland all were Pyun regulars. The biggest names were probably Robert Patrick and Playmate of the Month (September, 1977) and Playmate Of the Year 1978 Debra Jo Fondren. After his stint with Cirio H. Santiago in the Philippines Patrick had landed a pair of high-profile appearances with smaller and bigger roles in Die Hard 2 (1990) and Terminator 2: Judgment Day (1991). Apparently those weren’t enough to establish him as an A-lister and before long Robert found himself right back in the low budget wasteland from whence he came and now at the mercy of Albert Pyun. Chad Stahelski has had a career revival in recent years as a director with the John Wick franchise. Henriksen is, of course, a living monument who has appeared in as many classics as in just as many low budget trash spectaculars. And then there’s Tina Cote. Cote was something of a muse for Pyun, and here she merely can be seen in the credit montage. The entire thing does sort of brings up the one lingering question: why was there never a Tina Cote spy-action romp? Albert obviously loved filming her. Imagine what a James Bond imitation with Cote could have been, especially with that tiny black number she was wearing in Mean Guns (1997) and how Pyun loved filming her in that.

When Al’s on fire, he truly is the master of low budget action. When Al’s on point he does low budget action better than anyone else, but even in 1995 it was clear that those occassions had become the exception rather than the rule. Hong Kong 97 (1994) had the good fortune of being set in Hong Kong and starring Ming-Na Wen and Spitfire was nothing but a little timewaster and diversion before Al could commence work on the thing he was actually invested and interested in doing, Heatseeker (1995). When it comes right down to it Hong Kong 97 (1994) and Spitfire are two sides of the same coin. Not only do they share similar plots, cast, and locations – it’s almost as if either could act as a subplot or background story for the other. The action direction is actually pretty good and the choreography is better than usual with Pyun. Faint praise as it may be, but there’s actually a figment of a good idea in Spitfire. For reasons only known to old Al he never saw it fit either revisit Spitfire or extend it into a franchise, either with Phillips or without, despite all the potential the concept held. Nemesis (1992) was a minor hit on home video, and that somehow spawned four sequels, three of which Pyun directed. Why waste something as exciting as a globe-trotting gymnast / super spy fighting baddies of any stripe. No, somehow Heatseeker (1995) was the priority. No wonder Kristie Phillips never acted again.

It all becomes even more the infuriating considering the depths that Pyun was in. The mid-nineties hardly were his best time. The avalanche of Nemesis sequels were that… sequels – and they did everything but live up to the promise of the Hong Kong inspired original. By 1995 Pyun was no longer able to ride the coattails of Cyborg (1989) and The Sword and the Sorcerer (1982). Arcade (1993) was an inspired little cyberpunk ditty obviously meant to capitalize on the virtual reality craze following The Lawnmower Man (1992), but that was two years ago. As near as we can tell Pyun was in dire straits and in desperate need of a hit. It probably didn’t help that he was a year away from the disastrous Adrenalin: Fear the Rush (1996). Not only did it kill the career of Natasha Henstridge in an instant, it also was subject to extensive studio-mandated re-writes/re-shoots. If that weren’t bad enough, said re-shoots failed not only to improve the main feature, they also spawned Nemesis 4: Cry Of Angels (1996) as a by-product. More than anything else Spitfire was a missed opportunity. There was a renewed interest in James Bond with the release of GoldenEye (1995), and while old Al usually could be counted upon to strike the iron while it’s hot, he didn’t do so here. Even without Lance Henriksen (and/or a new lead actress) Spitfire begged to be further explored and expanded upon. For shame, Albert, for shame.

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Plot: woman is targeted for termination by cybernetic adversaries from the future

As if Nemesis 2: Nebula (1995) wasn't enough of an insult Nemesis 3: Time Lapse (Prey Harder in certain territories) was stitched together from excess footage of the first sequel, with an additional 11 production days. Where Nemesis 2: Nebula (1995) stole from obvious sources, Predator (1987) and Rambo (1985) for the most part, it at least attempted, however meagerly, in some way, to continue the franchise in a new setting. Nemesis 3: Time Lapse has no such aspirations, and shows no interest in building on the initial promise of the original Nemesis (1992) with Olivier Gruner.

Battered and bloody Alex Raine (Sue Price) wakes up in the East African desert with no recollection of what happened to her. She retraces her steps and encounters Farnsworth 2 (Tim Thomerson) who offers to help her get medical attention. Farnsworth 2 gives her "a shot of endo" activating a latent memory warning her to not let Farnsworth 2 get her DNA. She quickly turns the situation around, and kills Farnsworth 2 with his own gun. Alex then passes out as past memories start to wash over her...

After the destruction of Nebula (Chad Stahelski) Raine was taken in by local rebel troops. Once cyborg insurgents wipe out the pocket of rebellion Alex' necklace starts glowing and a light appears in the distance. Following the light source, Alex runs into her half-sister Ramie (Ursula Sarcev) who explains that she has 20 half-sisters, but that Raine's the only one able to procreate, and thus start a genetically enhanced breed able to withstand the cyborg oppressor. Farnsworth 2 and a group of cyborgs imprison Ramie and her sisters and Alex teams up with Edson (Norbert Weisser) and Johnny (Xavier Decile), a somewhat damaged descendant of Max Impact from Nemesis (1992). Edson and Johnny are captured in the chaos when bounty hunting twins Lock (Sharon Bruneau) and Ditko (Debbie Muggli) raid the compound where a reprogrammed Nebula is massacring cyborgs. Alex manages to rescue her rebel friends, but then Farnsworth 2 sends a drone that destroys their jeep leaving Alex battered, bloody, and without memory.

Nemesis 2: Nebula wasn't the most graceful of sequels, but it at least attempted to steer the Nemesis franchise into a new direction. Nemesis 3: Time Lapse is the worst kind of sequel as it ignores both the original and the first sequel, and seems in no hurry to actually forward the narrative. As a stand-alone action movie it's functional enough, but it's not as if Nemesis 2: Nebula had raised the bar particularly high to begin with. Instead of setting up a plot device to let Raine get back to her own time, or at least send her on a mission to stop the cyborg uprise before it begins Nemesis 3: Time Lapse does neither. It's so aggravating and creatively regressive that it actually diminishes what little Nemesis 2: Nebula got right. Things wouldn't improve with Nemesis 4: Cry Of Angels later in the year.

The new additions to the cast are hit-or-miss. Sharon Bruneau and Debbie Muggli are fun in their roles as wisecracking bounty hunter twins, but their little subplot is never developed enough to be of any importance. The same goes for Ramie, Johnny, and the 20 half-sisters which really must have been something of an afterthought. Under normal circumstances they could, or should, have been the crux to some sort of plot resolution - but Albert Pyun was apparently in no rush to tie up any loose ends, or develop any character beyond the rough contours of their designated archetype. The Ramie, Johnny, and the 20 half-sisters subplot is interesting enough to build an entire new Nemesis feature around, but that sadly never happened. The action is explosive enough but none of the set pieces are particularly involving. Especially in light of how the greater cast of villains are reduced to nothing more than one-note cannon fodder for heroine Alex Raine.

Not that the Nemesis series was ever known for its special effects work, but Nemesis 3: Time Lapse takes a plunge in that department as well. The pyrotechnics, stunts, and rubber suits are decent enough, but it are the visual effects that make Nemesis 3: Time Lapse the eyesore that it is. Instead of practical - and prosthetic effects there's now an excess of badly super-imposed, Windows 95 post-production effects, of which the neon glow over the antagonists’ eyes, the ripple effect on the dune buggy, and the morph fx used for shapeshifting characters are especially heinous. The lengthy flashback that makes up with bulk of the feature comes with a blue filter that probably only adds to the confusion. There's no shortage of explosive action scenes and the plot, or lack thereof, never gets in the way of the gunfire action. Pyun might not be much of a writer, but he always shoots action scenes well despite a lack of budget. Sue Price always handled herself well during action scenes, and here she does also. Price is the last person to blame for the mess that the Nemesis franchise became.

Somewhere in Nemesis 3: Time Lapse there's a halfway decent action movie. There's no shortage of action, for one thing. Pyun might not be much of a writer, but he always lenses action scenes well no matter how small the budget. Had Nemesis 3: Time Lapse focused on a battle of wits and endurance between the bounty hunter twins and Alex with a few supporting characters acting as allies or cannon fodder, and Ramie and her tribe of half-sisters as the prize it could have been so much more, and so much more effective. As it stands Nemesis 3: Time Lapse is the busiest of the four Nemesis episodes but has nothing to show for it. Just like Nemesis 2: Nebula before it Nemesis 3: Time Lapse doesn't feel much like a sequel, and it would probably have been better as a stand-alone feature. Not that Nemesis sequels would get better with time. In fact the opposite is true.