The Punisher

By Geof Miller

First, a few facts. Dolph Lundgren expresses emotions ranging from stoic to, well, really stoic. There are holes in the story large enough to pilot the Exxon Valdez through without spilling a drop. And the film is littered with action movie clichés. But none of this matters. The Punisher succeeds because it stays true to its origins, the Marvel comic of the same name. Studio-engineered films such as Batman never quite capture the mixture of loyalty and betrayal, justice and revenge, moral ambiguity and emotional truth that are the hallmarks of the graphic novel. Films such as Darkman do. So does The Punisher. Lundgren plays Frank Castle, a dedicated policeman whose family was wiped out in a mob hit. He went underground (literally) and, as the Punisher, has been exacting his revenge, killing 125 mobsters in the past five years. But when the yakuza (Japanese Mafia) moves in on the mob's territory and kidnaps their children, it's up to the Punisher to rescue the kids. The action blazes, Lundgren (a former full-contact karate champ) moves with feral grace, the production design is a pleasure to watch, and director Mark Goldblatt (whose credits as editor include such big films as Starship Troopers and True Lies) has a clean, efficient style.

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