Simon Phoenix, a violent criminal cryogenically frozen in 1996, has escaped during a parole hearing in 2032 in the utopia of San Angeles. Police are incapable of dealing with his violent ways and turn to his captor, John Spartan, who had also been cryogenically frozen when wrongfully accused of killing 30 innocent people while apprehending Phoenix.
Basically, Demolition Man is a futuristic cop picture with slightly more imagination and wit than the typical example of the slash-and-burn genre.
In the end, that s all this film is: flames, flying bullets, and special effects. It could be worse, I suppose, but as long as people go into this film with their eyes open, there shouldn t be any surprises.
Demolition Man is sleek and empty as well as brutal and pointless. It feels computer engineered, untouched by human hands. A real pod movie.
Demolition Man is a significant artifact of our time or, at least, of this week.
Forget your preconceptions, but not your brain cells and sense of irony.
A noisy, soulless, self-conscious pastiche that mixes elements of sci-fi, action-adventure and romance, then pours on a layer of comedy replete with Hollywood in-jokes.
Nearly all the SF premises are accorded the status of Andrew Dice Clay one-liners -- which means that they, along with the characters, keep changing from one scene to the next.
Ultimately the script s often sharp social satire is drowned out by the noise and confusion. It is also undercut by casting virtually all the psychopathically murderous criminals as minority-group members.