When Cross (Steven Seagal) and Manning (Steve Austin) are tasked with the routine decommissioning of a top secret C.I.A prison facility, everything initially goes smoothly until the arrival of two mysterious female prisoners who are to be moved on the next day. However, when the prison comes under attack from a group of mercenaries, led by the brutal Blake (Michael Pare), who demand the handover of the new arrivals, only Cross and Manning can stop them.
It's fair to say that the premise of Maximum Conviction is absolutely nothing new. Borrowing heavily from the plots of Die Hard, Assault on Precinct 13 and Seagal's own Half Past Dead, originality is certainly not on the menu. What is on the menu for viewers however, is a fast paced, brutal and highly enjoyable 98 minutes of mayhem.
Seagal's fight sequences are the best he's delivered in a number of years. He's certainly beginning to show his age, but the choreography is spare, violent, simple and snappily edited, giving Seagal a chance to shine. From what I can make out, the use of stunt doubles is minimal. Steve Austin casts his considerable frame over proceedings, with his fight scenes being especially brutal. Whatever opinions people have of Austin's admittedly limited acting range, he is a heavyweight screen presence, a presence utilised to great effect here. A small criticism is that the pair don't nearly share enough screen time together.
Michael Pare, an actor seemingly always more effective as the villain of the piece, is also on top form. Refreshingly, he plays his role not for villainous laughs, as happens so often in these kind of movies, but instead portrays callousness and sheer nastiness.
It's worth noting that Seagal, after working with director Keoni Waxman in this movie and also the preceding The Keeper and A Dangerous Man, has continued to work with him for two more movies. Waxman, while not the greatest director, seems to be helping Seagal achieve some of the best work he has done in a long time, going a long way to exorcising the memory of some of Seagal's truly execrable misfires of the mid 2000's, such as Shadow Man, Attack Force and Flight of Fury. Waxman's style is direct, straightforward, free of flashy gimmicks and all about the action. Scenes featuring simply dialogue are somewhat rushed, but you forget that when the action is as entertaining and exciting as on offer here. The fights are well choreographed, plus the shootouts are tense, imaginative and highly effective. The movie barely pauses for breath thanks to it's simple and straightforward set up.
Admittedly, Maximum Conviction is unlikely to win Steven Seagal (or indeed Steve Austin) many new fans, mostly due to the movie's unimaginative plot and bone crunching brutality. However, the high quality of action on display may go a long way to bringing some of Seagal's lapsed fans back to enjoying his movies again. As for loyal, existing fans of the two big guys, Maximum Conviction is absolutely essential viewing.
It's fair to say that the premise of Maximum Conviction is absolutely nothing new. Borrowing heavily from the plots of Die Hard, Assault on Precinct 13 and Seagal's own Half Past Dead, originality is certainly not on the menu. What is on the menu for viewers however, is a fast paced, brutal and highly enjoyable 98 minutes of mayhem.
Seagal's fight sequences are the best he's delivered in a number of years. He's certainly beginning to show his age, but the choreography is spare, violent, simple and snappily edited, giving Seagal a chance to shine. From what I can make out, the use of stunt doubles is minimal. Steve Austin casts his considerable frame over proceedings, with his fight scenes being especially brutal. Whatever opinions people have of Austin's admittedly limited acting range, he is a heavyweight screen presence, a presence utilised to great effect here. A small criticism is that the pair don't nearly share enough screen time together.
Michael Pare, an actor seemingly always more effective as the villain of the piece, is also on top form. Refreshingly, he plays his role not for villainous laughs, as happens so often in these kind of movies, but instead portrays callousness and sheer nastiness.
It's worth noting that Seagal, after working with director Keoni Waxman in this movie and also the preceding The Keeper and A Dangerous Man, has continued to work with him for two more movies. Waxman, while not the greatest director, seems to be helping Seagal achieve some of the best work he has done in a long time, going a long way to exorcising the memory of some of Seagal's truly execrable misfires of the mid 2000's, such as Shadow Man, Attack Force and Flight of Fury. Waxman's style is direct, straightforward, free of flashy gimmicks and all about the action. Scenes featuring simply dialogue are somewhat rushed, but you forget that when the action is as entertaining and exciting as on offer here. The fights are well choreographed, plus the shootouts are tense, imaginative and highly effective. The movie barely pauses for breath thanks to it's simple and straightforward set up.
Admittedly, Maximum Conviction is unlikely to win Steven Seagal (or indeed Steve Austin) many new fans, mostly due to the movie's unimaginative plot and bone crunching brutality. However, the high quality of action on display may go a long way to bringing some of Seagal's lapsed fans back to enjoying his movies again. As for loyal, existing fans of the two big guys, Maximum Conviction is absolutely essential viewing.