Fred Williamson, The Second Black Cobra This film no longer overlaps directly with the famous painting by Cosmatos and its reinterpretation called Black Cobra. It's different. Before us, there is nothing more than a compressed to the bottom of the textbook on the genre of militants of the mid-eighties. This means that there are many references to “Beverly Hills Cop”, “Die Hard”, “Patron” of Glickenhouse and many other films. Fortunately, a powerful figure of Fred Williamson, although rapidly immersed, but still convincing, allows you to add colors and bring the film closer to the standard of the genre of those years. However, even to compete with them tape should not. She was supposed to be similar. However, when Aldo Salvi’s powerful electronic music narratives are “turned on,” the action itself pales in the face of the form, which becomes almost documentary evidence of justice. Perhaps in those years, there was a great demand for this topic around the world.
In other words, it is unlikely that the film will appeal to pedantic aesthetes, while in the history of cinema, all the escapades of the tape are very symbolic. Here it is necessary to take into account such worn-out cliches as the direction of a cop who has been fined for excessive violence in a difficult business trip, exotic Manila, it is not clear from where an extremist organization originated, which can only be opposed by a hero. But for me the most expressive moment was the slow run of Williamson. In the scene of one of the chases it is clear that our hero runs not just bad, but very bad. However, the laws of the genre are as immutable as the laws of nature.
5 out of 10