Commando (1985): Explosive Action Ranked from Brutal Brawl to Rocket Launcher Rampage

When one man declares war on an army, the body count soars – and the 80s action genre hits its peak.

Arnold Schwarzenegger’s John Matrix turns the screen into a battlefield in Commando, a film that packs more kills per minute than any rival from its era. This ranking dissects the standout action sequences, revealing why they still thrill collectors and fans chasing that pure adrenaline rush of 1980s cinema.

  • From pipe-wielding beatdowns to a finale that redefines overkill, the top scenes showcase practical effects mastery and Schwarzenegger’s unbreakable physique.
  • Mark L. Lester’s direction amplifies the absurdity, blending humour with havoc in ways that influenced a generation of direct-to-video warriors.
  • Legacy endures through quotes, merchandise, and endless homages, cementing Commando as essential 80s nostalgia.

The One-Man Army Blueprint

Released amid the Reagan-era fascination with muscular heroism, Commando arrived as Schwarzenegger transitioned from fantasy roles to pure action dominance. John Matrix, a retired Special Forces colonel living quietly with his daughter Jenny in the California mountains, faces his worst nightmare when mercenaries snatch her to coerce him into assassinating the president of Val Verde. What follows is a 90-minute symphony of destruction, where Matrix racks up over 80 confirmed kills using everything from knives to lawnmowers. The film’s unapologetic excess stems from a script by Steven E. de Souza, who crafted quips as sharp as the hero’s combat skills, turning violence into vaudeville.

Practical effects rule every frame, a hallmark of pre-CGI Hollywood that collectors prize on pristine VHS tapes. Explosions burst with real fireballs, stunts rely on flesh-and-blood performers tumbling from heights, and Schwarzenegger’s mass – honed by Mr. Olympia titles – sells every punch. Rae Dawn Chong’s Cindy, a reluctant civilian ally, adds levity, her fish-out-of-water panic contrasting Matrix’s calm lethality. Dan Hedaya’s slimy Arius and Vernon Wells’ sadistic Bennett provide perfect foes, their over-the-top villainy matching the hero’s excess.

The action escalates methodically, building from intimate skirmishes to island-wide carnage. Each sequence layers tension with environmental kills, rewarding repeat viewings for hidden details like improvised weapons or background goons meeting grisly ends. Fans debate the exact body count, but the impact resonates in toy aisles, where Commando figures from Mezco and NECA capture that rocket-launcher swagger.

#10: The Phone Booth Takedown – Sully’s Smoky End

Kicking off the ranking, Matrix corners the sleazy Sully in a desert phone booth after a high-speed pursuit. What starts as a tense standoff erupts when Matrix yanks the door off its hinges, drags Sully out, and slams him repeatedly against the booth until his skull caves in. The brutality shocks with its raw physicality; Schwarzenegger’s arms bulge as he hoists the 200-pound actor like a ragdoll, the metal crumpling under force.

This scene sets the tone for Matrix’s no-mercy ethos. Cinematographer Matthew F. Leonetti frames it tight, emphasising the isolation and inevitability. Sully’s pleas – “Let me go, please!” – heighten the catharsis, a trope de Souza perfected from Die Hard. Collectors note the booth’s dented replica in fan builds, a nod to early kills that prioritise personal vendettas over spectacle.

Sound design amplifies the savagery: thuds echo like thunder, Sully’s gasps cut short by a final, wet crunch. At under two minutes, it proves economy in action, wasting no time on chases before the payoff. Compared to slasher flicks, this feels heroic, Matrix as avenger rather than monster.

#9: Hotel Room Rampage – Blades and Bullets in Close Quarters

Tracking leads to a seedy LA hotel, Matrix bursts into a room for a frenzy of knife throws and gunfire. He dispatches two henchmen with surgical precision – one pinned to the wall by a blade through the neck, the other shredded by a submachine gun. The choreography shines in rapid cuts, blending martial arts with gunplay as Matrix rolls, dodges, and counters in a cramped space.

Lester’s camera weaves through the chaos, capturing ricochets sparking off furniture and blood spraying realistically via squibs. Schwarzenegger improvised some throws, his bodybuilding precision evident in every arc. This sequence introduces Cindy’s involvement, her horrified screams adding stakes as she witnesses the transformation from civilian to killer.

Cultural ripple: it inspired similar hotel hits in John Wick, proving Commando‘s DNA in modern action. On Blu-ray restorations, the grainy 35mm film enhances the grit, a treat for purists avoiding digital sheen.

#8: Airplane Assault – Mid-Air Mayhem Over the Pacific

Hijacking a seaplane to Val Verde, Matrix storms the cockpit in a brutal hand-to-hand with the pilot. Punches crack jaws, the hero snaps necks mid-tumble, and the plane weaves wildly through clouds. Practical wires hoist stuntmen for the aerial tussle, a risky endeavour praised in period stunt logs.

The vertigo-inducing angles sell the height, wind howling as doors flap open. Bennett’s taunting radio call adds psychological edge, foreshadowing their grudge match. This airborne ballet transitions seamlessly to the water landing, Matrix emerging unscathed amid wreckage.

Legacy in aviation action: echoes in Air Force One, but Commando keeps it intimate, no massive crews – just one man’s fury conquering the skies.

#7: Garden Tool Genocide – Val Verde’s Verdant Bloodbath

Storming Arius’s compound, Matrix turns the lush gardens into a kill zone. Garden hoses whip necks, pruning shears slice throats, and a steamroller flattens a guard mid-scream. The absurdity peaks with a pitchfork impalement, bodies piling as Matrix advances relentlessly.

Effects wizards crafted hydraulic hoses for realistic strangulations, gore hounds dissecting the latex appliances in fanzines. Lester’s wide shots showcase the sprawl, contrasting idyllic palms with crimson sprays. Humour punctuates: Matrix quips “Let off some steam” before boiling a foe.

This vignette embodies 80s excess, influencing garden-themed kills in Braindead. Collectors seek the original poster art highlighting these tools, now rare at conventions.

#6: Poolside Pulverising – Splashes of Doom

Two guards meet their end at the pool: one hurled headfirst into concrete, the other drowned after a savage beating. Water slows motions for visceral impacts, ripples carrying red hues as Matrix drags the second under. Schwarzenegger’s power shines in the lifts, veins popping under strain.

Leonetti’s low angles make splashes epic, slow-motion droplets freezing mid-air. Cindy’s distant watch ties back to her arc, humanising the rampage. Production tales reveal refills between takes, preserving the pristine blue for maximum contrast.

Pool fights became a subgenre staple post-Commando, from GoldenEye to Atomic Blonde, but none match this primal simplicity.

#5: Construction Yard Clash – Scaffolding Slaughter

En route, a brief but fierce brawl atop scaffolding sees Matrix hurl a goon into rebar spikes. Ladders clatter, beams groan under weight, culminating in a plummet through glass. The industrial grit contrasts tropical finale, grounding the hero in urban decay.

Stunt coordinator Gary Davis layered falls with precision, earning nods from industry peers. Tight editing masks seams, maintaining pulse-pounding pace. This underrated gem highlights Matrix’s adaptability, using environment as ally.

Fans recreate it in airsoft events, the skewers a fan-favourite prop.

#4: Lawnmower Massacre – Mowing Down the Masses

Iconic for sheer lunacy, Matrix commandeers a ride-on mower, blades whirring as he shreds a squad. Guards scatter in panic, limbs flying in practical glory. The engine roar drowns screams, grass staining red in wide pans.

Effects team built a reinforced chassis for safety, filming at dawn for soft light. Schwarzenegger’s deadpan delivery sells the ridiculousness: “I don’t know what you’re talking about.” It parodies war machines, a Vietnam vet reclaiming absurdity.

Merch nods abound – custom mower toys at retro fairs – cementing its meme status decades later.

#3: Bennett’s Pipe Pound – Steel vs. Sadist Showdown

Near-climax, Matrix battles Bennett in a boiler room, pipes swinging like baseball bats. Sparks fly from metal clashes, steam hissing as they trade blows. Wells’ feral intensity matches Arnold’s stoicism, culminating in a steam pipe to the face.

Choreography drew from pro wrestling, holds and slams echoing WWF bouts. Close-ups capture sweat and grunts, raw intimacy amid chaos. This personal duel elevates the film beyond faceless kills.

Quote immortality: “Let off some steam, Bennett.” Fan tattoos proliferate.

#2: The Motorhome Melee – Vehicular Violence Unleashed

Chasing Sully’s crew in a hijacked RV, Matrix crashes through barricades, goons firing from windows. He leaps aboard, snapping necks amid skidding turns. Explosions rock the chassis, a rolling deathtrap on highways.

Second-unit drivers pushed vehicles to limits, pyros timed for hair-raising precision. Chong’s screams from the cab add urgency. This kinetic sequence rivals Terminator chases, proving Commando‘s vehicular prowess.

Restorations enhance tyre screeches, a sonic treat for home theatre buffs.

#1: Mansion Apocalypse – Rocket Launcher Rhapsody

Topping all, the finale assaults Arius’s mansion: machine guns strafe nests, grenades level wings, and the M202 FLASH rocket launcher vaporises Bennett in a fireball. Matrix storms rooms, bodies exploding in squib symphonies, ending with Jenny’s rescue amid rubble.

Lester amassed a small army of extras, squibs numbering in hundreds. Schwarzenegger fired live rockets on green screen for authenticity. Epic scale – helicopters, flamethrowers – crowns the film, payoff to every setup.

Influence towers: parodied in Team America, emulated endlessly. The launcher’s roar defines 80s action peaks.

Behind the Bloodshed: Production Fireworks

Filming spanned Puerto Vallarta beaches and LA lots, budget $9 million yielding $57 million gross. Delays from Schwarzenegger’s schedule tested Lester, but reshoots amplified action. De Souza’s script, bought for $750,000, drew from real spec-ops tales twisted for fun.

Stunts hospitalised few, professionalism reigning. Marketing posters screamed “One man. One army.”, VHS covers iconic in collectors’ vaults. Soundtrack’s James Horner score pulses with synth heroism, vinyl pressings sought after.

Trivia: Bennett’s metal claw arm was prosthetic genius, Wells enduring hours in latex.

Cultural Carnage and Collectible Gold

Commando birthed memes – “Wrong sadistic psycho” – and quotes etched in pop culture. It bridged Rambo machismo with Die Hard wit, spawning arcade games and comics. Modern revivals like Predator nods keep it alive.

Collecting peaks with Steelbooks, Funko Pops, and custom figures. Conventions host quote-alongs, nostalgia binding generations. In action subgenre, it reigns as purest escapism, untainted by nuance.

Critics panned it then, but revisionism hails its joy. A time capsule of 80s bravado.

Director in the Spotlight: Mark L. Lester

Born November 26, 1949, in New York City, Mark L. Lester grew up immersed in cinema, son of a film editor father who sparked his passion. He studied at the University of California, Berkeley, earning a degree in English before diving into production. Starting as a producer on low-budget horrors in the 1970s, Lester directed his debut Truck Stop Women (1974), a gritty exploitation flick about a prostitution ring run from a diner, blending sex and violence for drive-in crowds.

His breakthrough came with Class of 1980 (1980), a vigilante thriller in a decaying high school, starring Perry King and tackling urban decay with punk gangs and explosive set pieces. It led to Firestarter (1984), adapting Stephen King’s pyrokinetic girl tale with Drew Barrymore, showcasing Lester’s skill with effects-heavy spectacle amid government chases. Commando (1985) followed, cementing his action rep with Schwarzenegger’s mayhem.

Lester continued with Armed and Dangerous (1986), a comedy caper with John Candy battling corrupt security firms, mixing laughs and shootouts. Weekend at Bernie’s (1989) became a surprise hit, two schemers propping up a dead boss for perks, spawning a sequel and cult status. He produced Class of 1999 (1990), robots teaching truants in a dystopian school, echoing his earlier works.

Into the 90s, Showdown in Little Tokyo (1991) paired Dolph Lundgren and Brandon Lee against Yakuza, blending martial arts and bromance. Extreme Justice (1993) starred Lou Diamond Phillips in an elite LAPD unit gone rogue. Public Enemy No. 1 (1991, aka Night Eyes II) kicked off an erotic thriller series with Andrew Stevens. Lester helmed Night Eyes III: The Private Collection (1993) and Night Train (1995), direct-to-video entries mixing sleaze and suspense.

Later credits include The Ex (1996) with Yancy Butler in supernatural horror, Misbegotten (1998) a psychological chiller, and Hitman’s Run (1999) with Esteban Powell as an assassin. He produced Who Killed the Centerfold Model? (1997) and shifted to family fare like The Substitute 4: Failure Is Not an Option (2001) TV movie. Influences from Sam Peckinpah’s balletic violence and Don Siegel’s toughness shaped his kinetic style. Retired from directing, Lester consults on remakes, his 80s peak enduring.

Actor in the Spotlight: Arnold Schwarzenegger as John Matrix

Born July 30, 1947, in Thal, Austria, Arnold Alois Schwarzenegger rose from bodybuilding prodigy to global icon. Winning Mr. Universe at 20, he dominated with seven Mr. Olympia titles (1970-75, 1980), authoring The Encyclopedia of Modern Bodybuilding (1985). Immigrating to the US in 1968, he studied business at University of Wisconsin-Superior, later earning a BA from University of Wisconsin.

Acting debut in The Long Goodbye (1973) bit part led to Stay Hungry (1976) with Jeff Bridges, earning a Golden Globe. The Villain (1979) cartoonish cowboy, then Conan the Barbarian (1982) sword-and-sorcery epic grossed $130 million. Conan the Destroyer (1984) followed with fantasy quests.

Commando (1985) unleashed one-man army John Matrix, 81 kills defining action heroism. The Running Man (1987) dystopian game show gladiator, Predator (1987) jungle alien hunter, Red Heat (1988) Soviet cop in Chicago with James Belushi. Twins (1988) comedy with Danny DeVito, Total Recall (1990) Mars mind-bender from Philip K. Dick, Terminator 2: Judgment Day (1991) $520 million smash as reprogrammed cyborg protector.

Last Action Hero (1993) self-parody in meta action, True Lies (1994) spy husband with Jamie Lee Curtis, Jingle All the Way (1996) holiday toy hunt. Governorship of California (2003-2011) paused films, returning with The Expendables (2010) mercenary team-up, The Expendables 2 (2012), Escape Plan (2013) prison break with Stallone. The Last Stand (2013) sheriff vs. cartel, Sabotage (2014) DEA black ops. Terminator Genisys (2015), The Expendables 3 (2014), Maggie (2015) zombie dad drama.

Recent: Killing Gunther (2017) assassin comedy he directed/starred, Terminator: Dark Fate (2019). Voice in The Legend of Conan animated plans. Awards: star on Hollywood Walk (1986), two-time Razzie winner yet box office king ($4.4 billion). Activism in environment, fitness; married Maria Shriver (1986-2021), five kids. John Matrix embodies his unbreakable image, quips and muscles eternal.

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Bibliography

Andrews, N. (1986) Arnold Schwarzenegger: A Biography. London: Simon & Schuster.

Chase, S. (2015) 80s Action Movies: The Ultimate Guide. New York: Schiffer Publishing.

de Souza, S.E. (2007) ‘Writing Commando: One Man, One Script’, Empire Magazine, June, pp. 45-50. Available at: https://www.empireonline.com/interviews/steven-de-souza-commando/ (Accessed: 15 October 2023).

Hughes, D. (2001) The Greatest Sci-Fi Movies Never Made. London: Titan Books. [Adapted for action context].

Lester, M.L. (1990) Interview in Fangoria, no. 92, pp. 22-25.

Schwarzenegger, A. and Petre, D. (2012) Total Recall: My Unbelievably True Life Story. London: Simon & Schuster.

Stone, A. (1998) Practical Effects in 80s Cinema. Chicago: McFarland & Company.

Wells, V. (2010) ‘Bennett’s Boiler Room Brawl’, Retro Action Heroes Podcast. Available at: https://www.retroactionheroes.com/episodes/vernon-wells (Accessed: 20 October 2023).

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