![]() Gary Scott Thompson’s ( The Fast and The Furious franchise) screenplay was actually written in the late 80s, so this makes sense, as the conception of the killer is a somewhat unoriginal mixture of Aliens and Predator so it all ties together. Thankfully, the film’s cinematography works alongside the solid performances to make the audience forgive a bit of the mess, an 80s action sensibility that lingers on, despite Split Second’s release date of 1992. It’s almost as if Split Second wants to do too much, and is too excited about the creation of its world, that it doesn’t spend enough time making sure that each idea is complete before moving on to the next one. The setting of a waterlogged London is great, but also underused, as is the side plot of rat infestation and disease infecting the populous. This is another plot thread that’s never fully realized, despite flashbacks that imply Stone’s former partner was a victim of the monster in the past. There’s also the physical nature of the killer, who is apparently absorbing DNA along the way from its victims, while also leaving messages in blood for Stone about his return. For starters, there’s an occult connection to the killings that’s never fleshed out or fully explained, leaving only some tenuous connection to the Scorpio sign and Satanism that flitters away in the wind. ![]() Split Second could’ve benefitted from expanding her arc a bit, but that isn’t the only aspect of the film that leaves room for improvement. Cattrall’s character does have some gutsy action moments during the film’s climax, but overall she’s mainly there to show up, take a shower, and get captured. Hauer and Duncan make a decent team, while Kim Cattrall has little to do as the ex-wife of Stone’s ex-partner with whom Stone had an affair. ![]()
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