Lamest of the series. Bronson is showing his age and the story is color by numbers. Boring story with very few deaths (and lets be honest, but the time we get to this one, it's the killings we want to see). It's still slightly better than Eli Roth's horrible remake of the first movie.

Charles Bronson is back, in his 70s and whupping criminal behind once more in this, the final entry in the DEATH WISH franchise. While the previous two entries in the series had succumbed to a typical '80s excess of action, focusing on pyrotechnic glory and shoot-outs galore, DEATH WISH V attempts to get things back to their roots by concentrating on a more low-key story of vengeance and battles of minds with the criminal scumbags, who here are Mafia scumbags rather than common street-gang scumbags.The plot is a little more complex than previous entries as this time, Bronson genuinely doesn't want to become a vigilante again. It's only when the police fail time after time to apprehend the villains that he steps into action. The actor looks old, tired and puffy in this sequel, and he's obviously doubled in all of the action sequences, yet he still proves to be the best thing in the movie! Delivering his lines as impassively as ever, there's a twinkle in Bronson's eye that makes him lovable to the viewer and this film serves as a fitting send-off for the late actor – especially the last line, made especially moving when watching it after Bronson's death in 2003.The emphasis isn't on guns this time around – instead, the villains are bumped off using increasingly bizarre methods (not as bizarre as the Van Damme flick SUDDEN DEATH, but close). There's death by poisoned pasta, an acid bath, shrink wrap, and my favourite, an exploding football. All of it is good fun and surprisingly violent. Bronson's presence is also bolstered by a more impressive supporting cast than usual, including Tarantino regular Michael Parks as the utterly slimy, reptilian villain, Brit Lesley-Anne Down as the unfortunate love interest, Saul Rubinek as the ineffectual detective and the always-weird Robert Joy, known for playing dastardly freaks in the likes of THE HILLS HAVE EYES remake, here playing a crazed transvestite killer with a massive quiff. The film moves along at a decent pace and the action scenes are well-handled for the budget. While the script could have been better, all in all the unpleasantness is kept to a minimum and it could have been a lot worse. There's an edge here somewhere, and that makes the DEATH WISH series end with a small bang.

Ah yes, the Death Wish series of films, each and every one guaranteed to invoke some ire and even hatred from critical circles and film lovers alike. Yet to think that they don't have fans from movie land would be wrong - case in point Death Wish 5: The Face of Death.Often considered to be the runt of the litter, it's actually better than what some would have you believe. OK! So the formula is the same as usual, Charles Bronson's Paul Kersey will have to take up his vigilante arms once again when someone close to him falls by the wayside. The law is still an ass and the bad guys can literally get away with murder, but they can't get away from crossing the path of Kersey.It is what it is in that respect, another chance for Bronson to please fans of the series, to attack his role with machismo and a quip on the tongue. Where inventive deaths are conjured with a side order of vigilante relish. There's even strains of film noir in here, with a henchman as a transvestite and another with a dandruff problem that bothers him so. There's even a mannequin factory for added noirish flavours.The production isn't exactly high end (tongue in cheek folks), and the usual suspension of disbelief is very much required, but for fans of Chuck and the series, then this delivers the goods. Bloodily so. 7/10

This time Leslie Anne Down receives a death sentence by becoming involved romantically with architect professor Paul Kersey (Charles Bronson, more than a bit long in the tooth by this point; it was 1994, not 1983 any longer). Down is a fashion designer,named Olivia, once married to Michael Parks' ruthless criminal kingpin. Parks is Tommy O'Shea, his corrupt tentacles spreading throughout all of LA, from prostitution to drugs. He will not allow Olivia to become successful, not too happy that she gained full custody of their daughter. Tommy has Robert Joy's sadistic Freddie do his dirty work, eventually shooting Olivia in the back, with an attempt on Kersey's life as well. No surprise regarding Olivia's fate if you are familiar with the Death Wish franchise. Not to be denied, Olivia not only is shot in the back while trying to escape through a fire escape (after her face was smashed into a mirror by Freddie in drag in a restaurant women's restroom), but she plummets off the roof in slow motion to the top of a another apartment. Look, even by Part 5, the Death Wish series wasn't about to let the women off lightly; particularly, the women in Kersey's life. So Tommy will go after custody of his daughter, Chelsea, despite the fact that he sent Freddie to take out his ex-wife. Kenneth Welsh's exhausted detective loses a partner and witnesses who could finger Tommy for money laundering. So anyone involved with taking Tommy down through the law wind up on the losing end…option B is open and that consists of Kersey going Grandpa Vigilante. Parks' ass is grass. Look, Parks can play the scumbag with such comfort and ease; if you don't want him dead by the time Kersey gets his gun from the safe, then you're a sociopath. That's the whole point of this movie. The criminals are so loathsome and brutish, with a ringleader totally coldblooded and absent a conscience, that Kersey's revenge seems justified. Dwelling on how Kersey rids us of these cretins is of little consequence when Parks has his men use cars as battering rams, a pressing machine to torture, a sewing machine to cut into a stomach, and guns to shoot people in the back. Worse yet, Parks does in fact get custody of his daughter (much to her dismay and disgust), and turns Olivia's fashion company into a tawdry lingerie line. Oh, and there's a supposed friend of Kersey's who is actually dirty and taking money from Tommy to rid the crimelord of the vigilante nuisance. It is all about stacking the deck, of course. How on earth will Kersey not only get vengeance but escape all these people out to get him? Well, one thing's for certain: Kersey is good at killing. If you cross him, get on his bad side, and harm those he loves prepare to die. Parks is so smug, I can only imagine those watching this movie will be waiting with bated breath to see Bronson execute him. Robert Joy is so adept at playing creeps; he may have found a home on CSI: NY, but Joy's made a living playing human vermin. How Bronson uses a "remote control soccer ball" to get even with Joy has to be seen to be believed…it's kind of awesome actually (think of a human inferno). Look, this suffers from the "going to the well one too many times". The last Death Wish (part 4) had been back in '87. By '94, this kind of vigilante action was dying, if not about extinct. That's not to say Parks wasn't game; he's got the goods for portraying a mean bastard who goes after what he wants, and f-all to the collateral damage and bodies left behind. After all Tommy does, we do get the pleasure of seeing each member of his entourage's funeral (those responsible for Olivia's death) when Kersey dispatches them. It all plays out in Olivia's clothing factory/company, with hired gunmen equipped with firepower, as Tommy and his remaining henchman, Sal, holding Chelsea hostage in a room upstairs, await word that Kersey is dead. With use of a cellophane machine, forklift, electrical equipment (sending out sparks and high voltage), and, too cool to leave out, an acid bath, Kersey, only a pistol in hand, will not be denied his chance to capitalize on his vendetta. Parks gets his just desserts in grand fashion. Nothing great (even The Crackdown was better) to speak of, and Bronson, even though he aged extremely well, had too kindly of a face by this time in his career and life to really convince as a one-man army. Still bad-ass geriatric vigilante does kind of have a nice ring to it. But, taking this seriously at all, I doubt many could really accept Bronson in the twilight of his career as walking ammunition. I love the guy, don't get me wrong, but I think he should have laid this part to rest after the awesomeness that was Death Wish III.