Jason Trost — The FP‘s writer, director and star (and probably caterer) — had an interesting idea for a follow-up: What if you mashed up Saw with superheroes? Well, you might get something like All Superheroes Must Die (also called Vs., a title I don’t like any better). Unfortunately, what you don’t get is a good movie.
Four superheroes (Charge, Cutthroat, Shadow and The Wall) wake up in a seemingly deserted town, stripped of their powers, and are forced to play a deadly game concocted by their arch-nemesis, Rickshaw. The game, one that they’re destined to lose, involves running from one building to another and overcoming various challenges with the lives of various innocent civilians on the line. If they refuse to play or try to leave, Rickshaw threatens to blow up the entire town.
Operating on a budget of what looks like a hundred dollars and change, Trost gives it an admirable go, but the movie becomes bogged down in too many plot holes (how did Rickshaw manage to capture them in the first place?), too many unanswered questions (their superpowers are never explained), too many eye-rolling scenes (the characters have a knack for heart-to-heart conversations while their time is clearly running out) and too many seams showing (in both their costumes and the “special effects,” as in explosions being shown by an off-camera stagehand tossing bits of wood and handfuls of dirt into frame).
That’s not to say that I hated everything about All Superheroes Must Die, like:
• There’s an interesting scene in which Charge (Trost) decides to sacrifice a few civilians for the sake of his teammates.
• As Rickshaw, James Remar (48 Hrs.) has a terrific time chewing the scenery and showing that he can out-act the rest of the cast — and all while just sitting behind a desk.
• Cutthroat’s hot sister somehow manages to look sexy while tied up and strapped to a bomb. —Slade Grayson
“What the hell is a Tenkiller?” asks everyone unfamiliar with the state lakes of Oklahoma. Yet one must admit the alliteration of the title 
They also can get in some exercise by fleeing the resident killer, Tor (Michael Shamus Wiles, TV’s 
The setup: The government blackmails a criminal into launching a rescue mission within a heavily fortified prison. The movie? The John Carpenter classic pulp thriller 
Pearce is a great, charismatic actor, and it is one of the movie’s few pleasures that we finally get to watch him cut loose. He takes to the role with abandon, milking every corny one-liner and proving himself fully capable of acting the hero. If there’s a reason to watch, it’s to see him eclipse everyone and everything else onscreen. You keep wondering what it would be like to watch him in a good film, or at least a competent one.
Director Jackie Chan’s 
The first two-thirds of Project A 2 are heavy with dull dialogue, although it occasionally comes alive with an action scene, like when Chan and another man are handcuffed to one another and chased by half a dozen hatchet-wielding baddies. The final 20 minutes or so almost redeem the picture, with an extended set piece involving a giant hamster wheel, chili peppers and a toppling facade (a famous nod to Buster Keaton).
However, this is all convoluted to a point of making the audience not care. If it makes total sense to you, I suspect you’re a serious student of the games, in which case will you please put down the controller and take a shower? Your mother’s asked you three times already!