The strategy is not without its bright side. On the one hand, Bruce Willis, once only popular for the TV series “Moonlight”, even tried to pursue a career as a singer, which he abandoned after a single LP, today only treasured by his most staunch fans. You can bet he never dreamed of the level of fame he achieved after the first “Die Hard,” and while he starred in such great films as Tarantino’s “Violent Times,” Brian De Palma’s “The Bonfire of the Vanities,” or “Between Two Fires” by Walter Hill, the truth is that he was never interested in being considered prestigious or choosing a dramatic role that would earn him an Oscar nomination. On the other hand, this surprising explosion of prolificacy virtually unheard of in modern Hollywood was arranged in its contractual details before the announcement of the sick retirement, which some suspicious believe may have greatly benefited Willis and his family. And part of the actor’s astuteness may have been in negotiating his “swan songs” with this type of secondary digital platform where, in reality, it is likely that a good part of his audience does not even know that these titles are being released.
What is known, judging by the unanimously negative reviews that the first films of this last stage of his career are having, is that they are not good at all, to put it mildly. In the first two of these 2022 movies, “Gasoline Alley” and “A Day To Die,” Willis plays a cop. In the following three, “Fortress: Sniper’s Eye”, “Corrective Measures” and “Vendetta”, he plays various characters, since they are either science fiction or of the “vigilante” genre, that is, people who take justice into their own hands. “The anonymous avenger” style.
Interestingly, both “Fortress: Sniper’s Eye” and “Corrective Measures” are films of the futuristic prison genre, and in the second the mix is so wide that there are even some mutant monsters, which earned it particularly lapidary criticism. It should also be clarified that the other is a sequel to a recent film, “Fortress”, which despite achieving a meager commercial performance and another handful of bad reviews, had a second part thanks to the name of its protagonist.
The other five titles are “Soul Assassin”, “White Elephant” (John Malkovich and Michael Rooker also perform here), “The Wrong Place”, “Wire Room” and one last one in which everyone places their hopes, “Paradise City ”, since it will reunite Willis with John Travolta after almost 30 years of “Violent Times”, and it is also directed not by a stunt double who took care of his stunts, or by an almost anonymous musician, as in some of the cases cited, but by a good filmmaker like Chuck Russell, the one with the excellent “Nightmare 3” by Freddy Krueger and “The Mask” with Jim Carrey, an expert in special effects who could be the right director to fire one of the great Hollywood action heroes.
Source: Ambito
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