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Jack Slater is an action-film hero played by Arnold Schwarzenegger. An old projectionist (Robert Prosky) hands a magic movie ticket to Jack's biggest preteen fan (Austin O'Brien), and the kid steps right inside the latest Jack Slater film, becoming the actor star's sidekick in gunfights and car chases. But when Jack's nemesis (Charles Dance) gets his hands on the ticket, the fight busts out into the real world and Jack (à la
Toy Story's Buzz Lightyear) refuses to believe he's a fictional character. Director John McTiernan churns some nifty scenes out of this setup, although the fiction-to-reality shuffle is not as deft as in, say, Woody Allen's
The Purple Rose of Cairo, and the plot needs the kind of logic and discipline found in that classic when-worlds-collide film
Back to the Future. Still, Schwarzenegger has moments of wit and smashing action, and we get a faux-movie trailer advertising an intriguing new shoot-'em-up: "Something's rotten in the State of Denmark--and Hamlet is taking out the trash!"
Here's a new idea: a thriller where the thrills lead nowhere. A boy called Danny (Austin O'Brien), bored at school and frightened at home, is enthralled by the screen exploits of Jack Slater (Arnold Schwarzenegger). With the help of a magic ticket, he crosses into Jack's world: an unreal place where the hero always wins under a roasting sun and never gets more than a flesh wound. His adversaries may look like clichés-Charles Dance as a quiet hit man; Anthony Quinn, in his traditional look-at-me mode, as a Sicilian mobster-but that is precisely the point; movie conventions exist to be mocked, and "Last Action Hero" is determined to have fun with them. There isn't a trace of acid; the director, John McTiernan, remains devoted to the genre that he mastered in "Die Hard." But the scattiness of the film-the way that it slips between fact and fiction, and fidgets from one gag to the next-may still be enough to shake the confidence of a young audience brought up on Schwarzenegger pictures; everything they used to believe in, all the toy violence and dizzy stuntwork, is being snapped back in their faces. The movie labors the point and outstays its welcome; but it's a bright and daring direction for Schwarzenegger to have taken, and therefore one that he may live to regret. -Anthony Lane
Copyright © 2006
The New Yorker