The americanness only few actors could draw like Sylvester Stallone does really makes it somehow hard to believe that Demolition Man’s director is Italian.
This first fact that we have to admit isn’t the relevant in the appreciation of the film, however remains a non-negligible one from a list of surprising elements about the film and its director.
Demolition Man may seem ludicrous for some, maybe because the bad guy is just too unjustifiably crazy and bad, or as it may appear in 2014, that the foreseen future isn’t dark/pessimistic enough; but in the science-fiction category it certainly lies far from the worst we can get.
Indeed, apart from offering a few interesting views of a supposedly pacifist future society we’ll keep in mind a script written with quite a few streaks of brilliance and even subtlety, enhanced by the maintenance of an interesting satiric tone lingering throughout the film.
Sylvester Stallone has accustomed us with an awful lot of action films that millions would still watch as a catharsis like so many others would play violent action video games, but this film will stand out because holding a whole elaborated set of ideas to surround that action.
Demolition Man represents thus a good entertaining piece of cinematographic work, in which the innovations are all the more appreciable when we realize it was produced over 20 years ago now, and as the director’s first film.