Even though it’s only a silly action flick, The Rescue feels seriously out of date. If this thing had been released at the height of the 1984 flag-waving frenzy, when fantasy movies about hostage rescues were all the rage, then it might have had a chance.
But Chuck Norris no longer searches for the missing in action, and even Rambo has taken a header this summer. The Rescue is some sort of mid-’80s relic.
And a particularly ludicrously conceived one at that. When a crack American task force is captured on a secret mission off the coast of North Korea, the U.S. government chills a plan to go in and rescue them. As usual in these movies, the government is lily-livered and ineffective. (The unnamed president, we are assured, “would be in there in a minute” if it were up to him, but his hands are tied.)
While the American soldiers are languishing in a prison camp, their children – yes, their children – decide that it’s time to take matters into their own hands. So five spunky offspring steal the secret plans of the North Korean camp. And then they move in.
Audiences have been giggling for months now at this premise, as presented by coming-attractions trailers. (The idea is an echo of Iron Eagle, in which a teen stole a jet to nab his imprisoned father from a Middle Eastern hostage camp.) In full-length form, the concept isn’t much less ridiculous, especially in such moments as the kids putting aside the enormity of invading a hostile Communist country and inviting certain death in order to decide whether they should let a girl go along.
The kids involved are played by Kevin Dillon (Matt’s little brother, also on display this weekend in the remake of The Blob), Christina Harnos, Ned Vaughn, Mare Price and Ian Giatti. They are more-or-less serviceable, fulfilling the usual roles the moody one, the square one, the funny one, etc.
Two things can be said for this movie. One is that the locations are spectacular; ace cameraman Russell Boyd makes the mountains of New Zealand double for Korea.
The other thing is that Ferdinand Fairfax (Nate and Hayes) has directed it about as well as anyone could have, given the material. The script, by Jim Thomas and John Thomas, would be a tough assignment for any director with the slightest sense of the real world, but Fairfax actually puts some zip into a couple of sequences, and in the big prison-breakout scene, really works up a lather. But at that point, nothing can bust this film out.
First published in the Herald, August 1988
From this distance, the idea – kids rescuing their SEAL daddies – doesn’t sound especially strange, but then I’ve been worn down by decades of high concept. I note the participation of director Fairfax, whose Nates and Hayes does have some zip, and who went back into British TV after this for a nice long career (he died in 2008). The screenwriters had just come off the success of Predator.