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The only other thing of interest about “Demolition Man” is the various ways it steals from “Blade Runner,” presumably even shooting a chase in downtown’s 2nd Street tunnel as a kind of homage. As for Stallone, with so much silliness going on all around him, you actually miss his reliable figure when he’s off the screen. Nigel Hawthorne, the hottest actor in London off his stage performance in “The Madness of George III,” seems barely awake here, and Snipes spends much of his time laughing, presumably at how much money he’s getting paid for so little acting. Though some of the jokes in “Demolition Man” are actually funny, its quasi-facetious tone is overall more trying than entertaining.Īs for the acting, there is not much of it. He became the house wit of over-budget action movies, providing a layer of fatuous humor for “Hudson Hawk,” “Batman Returns” and now this. Lenkov and Robert Reneau, the half-baked satiric sense of humor of the science-fiction sequences is doubtless the responsibility of the third credited screenwriter, Daniel Waters.Īfter the success of the anarchic “Heathers,” Waters’ career took a curious turn. Though the original story for “Demolition Man,” such as it is, is credited to Peter M. She suggests thawing out Spartan as well, and soon enough he and Phoenix are trading bullets and baleful looks just like the bad old days.

So, when Simon Phoenix unaccountably gets defrosted and goes on a crime rampage, no one in San Angeles has a clue how to handle him except Barbie-doll police lieutenant Lenina Huxley (Sandra Bullock). Except for the grungy Scraps, rebels who live underground, citizens are little more than walking happy faces, content to say things like “all is serene” and “mellow greetings” to each other and live by Cocteau’s squeaky-clean rules. Raymond Cocteau (Nigel Hawthorne), the principality of San Angeles has recovered from both disease and earthquake devastation and become a land of peace, love and understanding.

In place of battles, “Demolition Man” unaccountably offers a goofball piece of science-fiction parody, a played-for-laughs version of life in the year 2036 that presents a society so harmonious, its people seem next door to brain dead.

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