Against the Dark

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Against the Dark

The testimony of the critic is no more. Steven Seagal has rendered dead the doubts, the scathing words, the formulas of scorn – all are past to the present, crumbled into nothing. The critic lies stunned, a wash of surprise dirtying his eyes. Seagal has veered off the pompously-wrought trajectory set by the critic, far from the lines of fate traced by the self-important twitches of Fellini-stained hands. Gone are the genre prisons that once contained row upon row of Half Past Dead and Flight of Fury. The old canvas of Action, dotted here and there by Revenge, Cop, Drug Lord, Revenge, Corruption, Terrorism, Revenge – now blotted out by a new canvas, a fresh genre in which to explore deep philosophical thinking as only Seagal can.

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