Alright, fellow tape-heads, gather 'round. Let's dim the lights, ignore that slight tracking fuzz at the bottom of the screen, and talk about a slice of pure, uncut 90s action absurdity that practically screams "direct-to-video," even though it somehow snagged a theatrical release: Tsui Hark's 1998 hyper-kinetic head-scratcher, Knock Off. If you ever stumbled across this box art in the aisles, featuring Jean-Claude Van Damme looking vaguely confused amidst explosions and shipping containers, you know you were in for… something.
Fresh off their equally bizarre collaboration Double Team (1997), the legendary Hong Kong director Tsui Hark (Once Upon a Time in China series) re-teamed with Van Damme for this Hong Kong-set actioner. And folks, "Hong Kong-set" is putting it mildly. This film wasn't just shot in Hong Kong; it was shot during the historic Handover of Hong Kong back to China in 1997. Imagine the sheer logistical chaos of trying to film elaborate action sequences amidst one of the most significant geopolitical events of the late 20th century! Reports from the set paint a picture of exactly that – controlled mayhem mirroring the film's own frantic energy, making the bustling market chases feel authentically overwhelming. It’s a "retro fun fact" that genuinely permeates the movie's atmosphere.
### Sensory Overload in the Pearl of the Orient
The plot? Hoo boy. Van Damme plays Marcus Ray, a fashion rep for "V SIX" jeans (get it?) in Hong Kong, who, along with his loudmouth business partner Tommy Hendricks (Rob Schneider, fresh off Men Behaving Badly and peak 90s comic relief duty), gets caught up in a plot involving counterfeit denims, the Russian mafia, CIA agents (Lela Rochon as the capable Karen Lee), and – wait for it – tiny, incredibly powerful micro-bombs hidden inside the knock-off goods. Yes, exploding jeans. It's a premise penned partly by Steven E. de Souza, a man who knows his action, having written classics like Die Hard (1988) and Commando (1985), but here the complexity feels less tightly coiled and more… tangled.
But honestly, the plot is almost secondary to the experience. Tsui Hark directs this thing like a man possessed, fueled by espresso and maybe the fumes from nearby exploding stunt props. The camera rarely sits still – we get extreme close-ups (sometimes seemingly inside objects), canted angles, whip pans, slow-motion, fast-motion, and editing that often feels like it’s actively trying to induce whiplash. It’s a style miles away from the often more straightforward, grounded action choreography popular in Hollywood at the time. Is it coherent? Often, no. Is it visually arresting and utterly unique? Absolutely. This wasn't your standard meat-and-potatoes action flick; it was action as avant-garde sensory assault.
### Real Stunts, Real Sweat, Real Rickshaws
And the action itself? Forget polished CGI. This is pure late-90s practical stunt work, baby! Remember those gloriously dangerous-looking sequences that felt like someone could actually get hurt? Knock Off delivers that raw energy. The rickshaw chase through crowded streets is a standout – pure, unadulterated chaos with real vehicles weaving, crashing, and flipping. You can almost smell the exhaust fumes and street food. Then there's the finale aboard a massive container ship, featuring boat chases, explosions, and Van Damme doing his signature kicks amidst swinging cargo containers. It's messy, it's occasionally unbelievable, but it feels physical. You see the effort, the impacts feel real (those bullet hits!), and the pyrotechnics are delightfully old-school fireballs. Could modern effects make it smoother? Sure, but they'd lose that gritty, tangible danger that defined the era's best action set pieces.
Van Damme, perhaps sensing the whirlwind around him, plays Marcus Ray with a slightly bewildered charm. He still delivers the requisite high kicks and splits, but there’s a sense that even he isn’t entirely sure what’s happening half the time. Schneider, as Tommy, is… well, he’s Rob Schneider in the 90s. Your mileage may vary, but his constant wisecracking provides a counterpoint (irritating or amusing, depending on your taste) to the visual onslaught. Lela Rochon holds her own, bringing a necessary dose of competence and grounding amidst the male leads' antics.
### A Glorious Misfire?
Upon release, Knock Off didn't exactly set the world on fire. With a reported budget around $35 million, its US box office take was a dismal $10.3 million or so. Critics were largely baffled, often savaging its incoherent plot and hyperactive style. Audiences, perhaps expecting a more conventional Van Damme vehicle, stayed away.
Yet, viewed through the hazy lens of VHS nostalgia, Knock Off possesses a strange, undeniable charm. It’s a film utterly committed to its own brand of madness. It’s a fascinating time capsule – capturing Hong Kong at a pivotal moment, showcasing Tsui Hark’s unrestrained directorial flair (for better or worse), and delivering the kind of practical, over-the-top action mayhem that feels increasingly rare. I distinctly remember renting this one, drawn by the promise of Van Damme action but getting something far weirder and, in retrospect, more memorable than many of his more generic outings.
Rating: 6/10
Justification: The score reflects the film's status as a fascinating, high-energy mess. Points awarded for the insane practical action, Tsui Hark's gonzo visual style, the unique Hong Kong handover setting, and its sheer audacity. Points deducted for the often incomprehensible plot, jarring editing, and Schneider's sometimes grating presence. It's not conventionally "good," but it's far from boring.
Final Thought: Knock Off is like finding a bootleg mixtape assembled during an earthquake – chaotic, unpredictable, maybe slightly damaged, but pulsating with a raw, undeniable energy you just don't get anymore. Definitely worth digging out of the bargain bin for a dose of pure, unadulterated 90s action weirdness.