Showdown at the Grand (Film Review)

Terrence Howard with a crossbow, defending a cinema from an evil capitalist intent on tearing it down, with some help from Dolph Lundgren playing a meta version of himself. No, it's not a fever dream concocted by a bored multiplex worker, but the very real plot of Showdown at the Grand, the latest movie from writer/director Orson Oblowitz. 

Showdown at the Grand in many ways is a love letter to the majesty of the cinema itself. Not the art, but the canvas. The traditional art deco features, the ceremony of the act, the beauty of the simplicity of watching a film on the biggest screen possible and losing yourself to the story. True escapism. From the outset, the presentation of the cinema is one of sanctity. A consecrated ground for stories to be told. The film does a great job with presenting this concept, especially as George, the owner of The Grand who embodies the tradition that he is willing to risk his safety to protect. Terrence Howard feels like the perfect casting for this role, bringing a sense of gravity to proceedings but without ever overstepping into comedy or parody. George feels like a weary, old film-loving businessman in a way that is surprisingly relatable, which speaks to Howard's understated, but highly convincing performance.

It is fair to say, Terrence Howard is not the only standout performer in Showdown at the Grand. Although Dolph Lundgren's screen time as the ageing Claude Luc Hallyday is somewhat limited, he makes every moment count. Whether that is hamming it up within the realm of the B-movies on the screen at the cinema in the Necropolis series, or appearing frail and over-the-hill when he arrives for the Q and A, Lundgren is excellent here. There's a certain self awareness that comes from playing a character that could loosely be based on your own life, and doing so in a way that feels both vulnerable and utterly believable is quite the feat. Hallyday's heroics alongside George are a little far-fetched but things just about stay within the bounds of reality and the whole aesthetic allows for a bit of creative leeway on that front that is used to great effect. 

Showdown at the Grand is not without its problems. Despite the gorgeous visuals on offer, the plot is a little thin at points. In many respects, it's a classic straightforward Western, with George playing the Sheriff taking his last stand to defend his home. Amanda Righetti is a credible villain, and the old narrative of property developers trying to close down an old business to make way for new houses is a well trodden trope. However, there could be a bit more going on and the pacing means that there are long stretches where the film is plodding and in need of an injection of a little more drama. Saying Showdown at the Grand drags would be harsh, but it could certainly do with a little more action and a bit more character development. Speaking of characters in need of development, Piper Curda's Spike isn't given the requisite time on screen or the relevant story arc to make any real impact, to the point it's debatable what purpose her character serves overall. 

To some extent Showdown at the Grand is a triumph of style over substance. That might sound derisive, but when the style is as intoxicating as the visage of the cinema it's only right for that to be the case. Terrence Howard puts in some great work to carry a film that probably lacks the necessary story to really sustain a feature length movie, and yet Showdown at the Grand was very enjoyable with plenty of nostalgic nods to the cinemas of old, as well as the wild west of films shown on the screen within the film itself. It's a Western, an action movie and a tribute to all things cinema all rolled into one, and while it's not perfect it certainly isn't boring. 

Signature Entertainment presents Showdown at the Grand on Digital Platforms 13th November