When the Cuban ambassador to the U.N. is assassinated by a sniper, U.S. Marshal Michael Dane (Dolph) travels to Prague to apprehend the suspect. As it turns out, the suspect is Simone Rosset (Detmers), and the relationship between Dane and Rosset becomes complicated. Naturally, there is a conspiracy that goes all the way to the top - and Dane must fight hard to get to the truth. Being a stranger in a strange land, will he succeed? Hidden Assassin - not to be confused with Silent Trigger (1996), or Hidden Agenda (2001) for that matter (although Silent Trigger has a similar plot that involves male and female snipers who are conflicted about their actions) - was made during the period in Dolph's career where he was trying to be more serious, and was appearing in films with a darker and more somber tone. Whether intentionally or not on his part when he was choosing his roles, these 90's Dolphs are different from his 80's heyday.

What follows is more intrigue than out-and-out action, and that's not necessarily a bad thing, it's just a different animal from, say, The Punisher (1989). Here Dolph is put into some interesting scenarios - from a smooth, wine-tasting gentleman, to an action hero not afraid to get hurt and be covered in blood (interestingly, his white T-shirt with the bloodstain will remind you of Andrew W.K.). He even wears an interesting Franz Kafka shirt at one point. The Prague locations are a highlight of the movie. The cinematography is top-notch, and thanks to the interesting setting and good production values, as well as the big-sounding score, Hidden Assassin seems to be going for a classier vibe.

Detmers recalls a more-sane Sean Young in her prime, and as far as casting goes, in lesser (?) hands, Dolph's role could have been played - should the dire need arise - by Frank Zagarino (similar hair). His sidekick could have been played by Dennis Franz. What's going on with Dennis Franz? We haven't heard too much from him lately.

Hidden Assassin is probably one of the better 90's Dolphs, thanks to the quality of the technical aspects of the film, but had this movie been made in the 80's, it would have been a more full-throttle action film, and that would have been nice to see.

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Though this film would be classed as mediocre by most, I rate this movie fairly high. The scenery is fantastic, the soundtrack is interesting with its combination of suspense and smooth jazz, and with Dolph Lundgren side-kicked with John Ashton you get a smooth, even dose of action, adventure and comedy.

Though the movie does seem slow at times, and you tend to forget the characters names or the reason why Dolph is actually there in the first place, the movie does provide decent suspense and action throughout.

I didn't like the fact that Dolph's main wound (his arm) was self-inflicted and rather, well... pointless. However, the rooftop-gunfight scene (end) and the part where Dolph takes out a sniper with a handgun are simply a must see! (Believable? It is within Dolph's power, ha-ha!)

The ending is simply awesome. Enough said.

This movie is fantastic, you'll either rate it as a masterpiece or just a decent, action flick; but nothing lower.

I quite like watching Dolph Lundgren movies that are high on atmosphere. One of my favourite movies is Silent Trigger, which is just gorgeously shot. So I read reviews of this one as being also beautiful, and there's sniping in the movie too, so I went with it.

I'm not going to make a huge fuss and tell you that the movie is Barry Lyndon, but it really is purty. I'll get to that after a brief round up of the plot.

So the Dolphage here is US Marshal Michael Dane, who has been sent abroad to kidnap Simone Rosset (Maruschka Detmers), a sniper who is accused of assassinating a Cuban official in New York, and bring her to trial. I don't quite know how controversial such an extra-jurisdictional kidnapping is, there are documented cases of the US doing it, but I wouldn't have thought the US Marshal service would have been employed. It's morally wrong, as Rosset says in the movie, if the Czechs abducted a US citizen from Pittsburgh for trial in the Czech Republic, that would be a huge international incident.

Thing is she may not even have done it, and Dane (like Waxman in Silent Trigger) has a troubled conscience. Rosset has been in retirement for at least a decade and is now running a restaurant in Prague with her lover Marta (Assumpta Serna), their world is not just a little intoxicating to Dane. You get a sense, when he sees Simone's expressive dancing in a lesbian night club, that it's an image that will be engraved into his mind for the rest of his days. Assumpta Serna's presence is welcome, she's an unbelievable sauce who actually appears to have more sexual power 10 years later in the Quay Brothers' superb movie PianoTuner of Earthquakes at the age of nearly 50.

Purty places include the fabulous Czech restaurant, which I suspect is probably a little more touristy than the movie suggests (you can see Alphonse Mucha designs on the backs of the menus - famous artist of Prague). There's also a lovely wine cellar, and Marta's flat is quite beautiful. Something I harp on about a lot is the transformative quality of interior design in movies, it really does help if you have good diegetic lighting and plush dream apartments in movies. Marta has candles a plenty, cushions on the floor to lounge on, and lovely greenery everywhere, cheese plants, mimosa, and the like. Marta and Simone, one gets the impression, are experts at living.

Although others have said that the special effects are not all that, I think there's a couple of pretty cool ones, take the leap to the metro car for example. It's true that the movie is a cheapie compared with modern stuff, but I don't think a few cases of movie explosives were going to make this one better.

The plot is fairly much all over the place, and the Cuban officials in the movie a big annoyance, the fact that Dolph is basically the adopted son of one of the spooks comes off as pretty silly, as does the major plot twist. Despite what is also a fairly ludicrous ending, there are very cool parts to the script, such as the observation by Alex (the adoptive father), that the only time self-doubt is useful is when you're playing Hamlet on stage. There's also a kind of strange beauty to the fights between Dolph and Simone, in that he's more than twice her size, and yet she has enough nouse to make them last out.

The lasting value is in the film's aesthetics, and the haunting of Dane, as well as the occasional fairly cool special effect. It joins my list of flawed but very purty and lovable movies that were made during my childhood, alongside the likes of Albert Pyun's Cyborg, and Wes Craven's Shocker.