John Woo’s American debut is a barnstorming Van Damme vehicle. Henriksen fronts a lucrative sideline offering rich sadists the chance to hunt human victims through the deprived streets of New Orleans. It’s a strong sociopolitical indictment on the exploitation of the poor at the hands of the rich. It’s also a great excuse for Van Damme to unleash the big guns and run riot. He’s investigating the disappearance of Butler’s father before her story becomes irrelevant and Henriksen’s hunter becomes the hunted. Woo’s motifs are all here – extended use of Peckinpah-style slow motion, doves, infinite stockpiles of artillery – and he calls upon an arsenal of greatest hits from his previous Hong Kong work to pad out an extended finale. Van Damme fans can also enjoy his most iconic macho moments, like firing guns whilst standing on a moving motorbike and punching a snake in the face. Class.