Excerpt: Like many, I long for the days of old school '80s style hard-R action movies. Action might not be my favorite delivery system for cinematic violence, but give me some rough-edged exploitation and I'm totally on board. We don't get that kind of thing so often anymore but, while Java Heat isn't anything particularly special, it does deliver some solid shoot-em-up action with a suitably mean villain that basically scratches that old itch.
Excerpt: On the Indonesian island of Java, a suicide bombing at an art show has ended the life of a sultan's daughter, and the last person to speak to her before her death is a mysterious American who goes by the name Jake Wilde (Kellan Lutz). Jake claims to be a graduate student, visiting for the art show, but local cop Hashim (Ario Bayu) notices some holes in his story.
Conclusion: The straight-to-video low-budget action movie sub-genre is such a minefield of awfulness that few are willing to run through it. Seeing a merely decent one, then, is like making it through unscathed. And that's Java Heat ; it's not great , but it's a relief, in that you don't feel like you completely wasted your time watching it.
Excerpt: Cultural clashes and gunfire spearhead this overly loud and unaccomplished action flick, gunked up with pervasive violence leading to nowhere. Square jawed Twilight vet Kellan Lutz cannot pull in a convincing lead as CIA/FBI/Student/Other Jake Wilde, stranded in Indonesia after terrorists brandish their suicidal might. Java Heat loosely threads together a distrusting buddy picture with dire implications, Wilde paired with local detective Hashim (Ario Bayu).
Excerpt: Java Heat adheres to the reliable guidelines of the buddy-cop movie. The rules are invitingly simple. A white cop, or some other vague official who can somewhat logically carry a gun in public, is paired with a not-white cop, or some other vague official who can somewhat logically carry a gun in public.
Excerpt: Java Heat is an action movie for serious action movie buffs. Neither outrageous nor self-conscious, it looks and moves like any number of good late-’80s/early-’90s action flicks. In lieu of smashed-in zooms and jittery handheld, director Conor Allyn opts for wide-angle lenses and Steadicam shots; the result is clear and concise.