Wow! Such a good movie.

The best films of this genre always show a path and provide a takeaway for being a better person.

The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

The thing I enjoyed most about the film is the fact that it doesn't shy away from being a super-sized-cliche;

The title 'Instant Justice' had me in mind of the gritty vigilante thrillers of the late '70s and early '80s—movies like Death Wish and The Exterminator. This film, though, is from the latter half of the '80s, a time when cheezy action movies were at their most prevalent; as such, it is packed full of poorly staged shootouts, naff car chases and unconvincing fisticuffs, all accompanied by a horrible synth-driven soundtrack. Star Michael Paré gives one of his least accomplished performances (which is saying something) and token babe Tawny Kitaen sports massive hair and shoulder pads to match as the feisty call girl that our hero falls for (I hope he's had his shots).Dumb, not-in-the-least-bit-exciting 'highlights' include Youngblood leaping through a plate glass window onto a car roof (sustaining not even so much as a scratch), a hilarious encounter with a kung fu cook, a close escape from a load of bulls (load of bulls… sums up this film rather nicely!), and Paré driving a Trans Am at high speed while firing his machine gun (after crashing the car through Spain's flimsiest gate).

Instant Justice was suppose to be Michael Pares big break-action film...produced by mega studio Warner Bros....the film bombed and it deserved to. Pare has made some classics (Streets of Fire, Bad Moon, Eddie and the cruisers I & II) but this film is not one of them. It was a sign of things to come from his uneven and often wooden career. Pare is good shape and still has the charm but the action is poorly staged, the supporting actors are terrible, and the film just feels cheap. Check it out for some old school Pare but don't expect much. Maybe you will enjoy it more going in to it expecting less than i did. Pare is in great shape though.

Michael Pare's acting is as bad as Scott Del Amo (Dutch the bad guy). Both could compete for the worst actor of 1987. Tawny Kitaen is only slightly better given her snappy but out of place dialog which probably fits the 1980s for an uppity call girl. Peter Crook has the most potential as a character actor but not in this movie which as poorly written. This is definitely a must for those who enjoy the worst of the worst movies (tinge of masochism). Hilariously bad scenes include the keystone marine kops chasing Pare around the US Embassy with the anybody can get into arms locker. The initially chase scene with the mad taxi driver chase Pare through the streets and parks but can't quite catch him since Pare can run faster than a taxi. Finally the release of the bulls by Jake to help Pare and the girl escape shows you how bulloney this film is.

It is hard to imagine a worse film, and equally hard to believe that Craig T. Rumar did not know that he was making a turkey. There are only two stand-out things in this movie and both belong to Tessa Hewitt, otherwise there can only be interest for connoisseurs of timber as represented by Michael Pare and Tawny Kitaen who's acting might be called wooden if one were not worried at receiving complaints from Pinocchio. Dialogue is not helped by Mr Pare needing a 5 second pause before he can deliver his lines so that his scenes with Ms Kitaen have all the spontaneity of a State Funeral. Mr Pare has less acting ability than Arnie but an equally impressive physique, unfortunately when asked to do anything other than adopt a statuesque pose it all goes horribly wrong as he minces across the screen. Action sequences and special effects are laughable, the editing probably done with a chain saw, the sub-disco intrusive 'background' music unremitting. Other than Tessa Hewitt's 30 seconds on screen the film has no redeeming feature.