Okay, fellow tape travelers, let's rewind to 1988. Picture this: browsing the aisles of your local video store, maybe Action or New Releases, and your eyes land on a VHS box. Stark title: Above the Law. The cover features a stern-looking dude with a ponytail, radiating a quiet intensity you hadn't quite seen before. This wasn't Stallone's explosive rage or Schwarzenegger's sculpted might. This was Steven Seagal, and his arrival on the scene with this film felt like a sudden, sharp crack – much like the sound of bones snapping throughout the movie itself.
### Chicago Grit and Aikido Precision
Above the Law (also known internationally as Nico) wasn't just another action flick; it felt different, grounded. Director Andrew Davis, who would later give us the perfectly-paced thriller The Fugitive (1993), shoots his native Chicago with a gritty realism. The streets feel cold, the alleys look grimy, and the danger feels palpable. Forget the sun-drenched locales of many 80s actioners; this was urban warfare fought under overcast skies. Davis brought a procedural feel to the proceedings, even amidst the flying fists and shattering glass.
And speaking of fists... the action here was the main draw, specifically Seagal's mastery of Aikido. It was mesmerizing back then, wasn't it? The fluid joint locks, the throws that used an opponent's momentum against them, the almost dismissive way Nico Toscani (Seagal) dispatched thugs. It looked incredibly efficient and brutal. Seagal, who had a background as an Aikido instructor in Japan and co-wrote the story (claiming parts were based on his own mysterious past, adding a layer of intrigue, true or not), brought a unique physicality. Retro Fun Fact: Seagal actually served as the martial arts coordinator on set, ensuring the Aikido techniques looked authentic, something rarely seen performed by a lead actor with such proficiency at the time. The fights felt less choreographed and more like sudden, violent altercations. Remember how real those wrist breaks looked? That wasn't wire-fu; it was grounded, painful-looking technique.
### More Than Just a One-Man Show
While Seagal was undoubtedly the star, Above the Law benefited immensely from its supporting cast. The legendary Pam Grier plays Nico's partner, Delores "Jacks" Jackson. Seeing the star of 70s blaxploitation classics like Foxy Brown (1974) hold her own, trading barbs and backing up Nico, added significant weight and charisma. She wasn't just a damsel in distress; she was a capable cop caught in the same conspiracy. Their partnership felt believable, adding a human element often missing in more cartoonish action fare. Retro Fun Fact: Grier's casting was a smart move, lending credibility and appealing to audiences who remembered her powerful screen presence.
And who better to play the cold, calculating villain Kurt Zagon than the eternally menacing Henry Silva? With those piercing eyes and chillingly calm demeanor, Silva embodied the corrupt CIA operative pulling the strings. He didn't need elaborate monologues; his presence alone was enough to signal serious trouble. Look closely, and you'll also spot a very young Sharon Stone in a brief but memorable role as Nico's wife, years before her star-making turn in Basic Instinct (1992).
### Practical Mayhem, 80s Style
The plot itself involves Nico Toscani, a Chicago cop with a murky past involving Vietnam and the CIA, uncovering a drug ring connected to high-level government corruption and illegal arms dealing. It’s a solid, if slightly convoluted, framework for Davis to stage some excellent set pieces. The action feels raw and impactful precisely because it relies so heavily on practical effects and stunt work. There’s a visceral quality to the car chases through Chicago streets, the shootouts in warehouses, and especially the hand-to-hand combat.
Think about that butcher shop sequence – the tension, the sudden explosion of violence, the use of the environment. It wasn't overly flashy, but it felt dangerous. This was the era before CGI could smooth everything over or paint in digital blood splatters. When a car flipped, a real car flipped. When someone went through a window, a stunt performer (often coordinated by Seagal himself) took that fall. Retro Fun Fact: The film was made for a relatively modest $7.5 million but became a surprise hit, grossing nearly $19 million domestically and launching Seagal’s action career. It proved audiences were hungry for this different flavor of action hero.
The pacing is brisk, driven by a decent score from David Michael Frank that hits all the right 80s synth notes. Sure, looking back, some of the dialogue might induce a chuckle, and Seagal’s stoicism occasionally borders on woodenness. But at the time, his quiet confidence and explosive fighting style were undeniably cool. It tapped into that late-80s vibe where conspiracies felt plausible and one determined man could take down the system, albeit with a lot of broken limbs along the way.
### The Verdict
Above the Law isn't high art, but it's a highly effective and influential piece of late-80s action filmmaking. It introduced a unique martial arts style to mainstream audiences, launched a major action star (whose subsequent career and off-screen life have certainly been... eventful), and showcased Andrew Davis's talent for gritty, realistic action direction. The practical stunts hold up surprisingly well, feeling more tangible than many modern digital spectacles. It captured a particular moment, a blend of post-Vietnam paranoia, urban grit, and bone-crunching martial arts that felt fresh and exciting popping it into the VCR late on a Friday night.
Rating: 7.5 / 10
Why? For its impactful debut of Seagal and Aikido on screen, Andrew Davis's tight direction and gritty atmosphere, Pam Grier's excellent supporting turn, and its commitment to raw, practical action that defined a certain brand of late-80s thriller. It loses points for a somewhat standard plot and Seagal's limited emotional range, but its influence and entertainment value are undeniable.
Final Word: Before the bigger budgets and increasingly outlandish plots, Above the Law was Seagal and director Davis laying down a marker: action could be brutal, grounded, and thrillingly real, even with a guy rocking a ponytail. A must-watch for fans of the practical effects era.