Plot
Solo (Van Peebles) is an android designed as a military killing machine. He is sent to Central America by General Haynes (Barry Corbin) to battle guerrilla insurgents, but a flaw develops in his programming and he develops a conscience and compassion. His developers try to take him back for deprogramming, but he flees to the jungle in a helicopter. His main energy supply was damaged during the first mission, forcing him to switch to his much less powerful secondary power. He joins a small village community that is under constant threat from guerilla attackers, and he protects them in exchange for use of their electric generator (they previously used it to power a TV). There he learns to 'bluff' from a child that befriends him.
Solo helps the villages drive off a local Warlord (Joaquín Garrido) and his small army, but the combat is detected by a military satellite. A black ops team is sent recover or destroy Solo, while they ally with the Warlord. The black ops leader, Colonel Frank Madden (William Sadler) brings in Solo's creator (Adrien Brody) as a lure, leaving the man mortally wounded but Solo survives. Having occupied the village, the militiamen and black ops team attempt to kill Solo, but he is able to kill all of them. The Warlord is betrayed by Madden, who tries to kill Solo with an automatic grenade launcher. Solo is able to fight Madden in hand-to-hand combat and non-fatally break his spine. Suddenly a helicopter delivers a more powerful version of the android (who is sometimes referred to as 'Solo MkII') armed with a multi-barreled gun, and has Madden's face. The MkII kills Madden and proceeds to hunt down Solo. Solo is able to save the villagers and beat the MkII android, using his acquired bluffing skills.
Read more about this topic: Solo (1996 Film)
Famous quotes containing the word plot:
“The plot! The plot! What kind of plot could a poet possibly provide that is not surpassed by the thinking, feeling reader? Form alone is divine.”
—Franz Grillparzer (1791–1872)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)
“Morality for the novelist is expressed not so much in the choice of subject matter as in the plot of the narrative, which is perhaps why in our morally bewildered time novelists have often been timid about plot.”
—Jane Rule (b. 1931)