ungarian cognitive therapist (or psychoanalyst) Dr. Anna J. Nolmar (Patsy Kensit) visits a little shop in Los Angeles, where easily-startled watchmaker Eddy Kay (Michael Biehn) agrees to repair an invaluable family heirloom that has stopped ticking. That evening, while dining, a gas leak causes an explosion in the building across the street, into which Eddy heroically bursts to rescue a woman and her infant – an unusual, unexpectedly automatic act for the mild-mannered everyman. But when the feat is reported on the news, it draws the attention of the particularly dangerous Colonel Taylor (Richard Jordan), who makes a call to deal with the sudden reappearance of a man who was supposed to be dead.

“I’m a nice guy!” Of course, Eddy has no knowledge of his complicated past, which makes it all the more difficult when an assassin shows up to murder him. Investigator Detective Sanchez (Raymond St. Jacques) believes the incident was a simple robbery attempt, but Eddy suspects a more serious intention, especially after the ordeal triggers strange, violent flashbacks. And his suspicions are confirmed when a team of elite killers, including Ms. Blue (Tracy Scoggins), Mr. Brown (Billy Blanks), Mr. Redd (Steven J. Oliver), Mr. Black (Ray “Boom Boom” Mancini), and others (agent names that are coincidentally similar to those found in “Reservoir Dogs” a year later), begin stalking him.

“I’ve been to the police. They don’t believe me.” With political intrigue, professional hitmen, shootouts, knife fights, hand-to-hand combat, and daymares of a nude woman in a bed, the stage is set for an action-packed, mystery-laced conspiracy thriller. Some of it is in the vein of “The Manchurian Candidate,” but the bulk is a more standard adventure involving unflinching thugs hunting down the unsuspecting, disregarded, paranoid dupe – with a set of specific, exceptional skills – leaving a trail of bloody, collateral damage in their wake. Plus, there’s a mild love story involving the attractive young psychologist, though she begins as a hostage who is only somewhat reluctant to escape.

Playing with faulty memories and a case of elusive, shifting identities, “Timebomb” boasts minor sci-fi notions (again, coincidentally similar to “Total Recall” from the year before), as well as a couple of amusing sets, though the lead is reminiscent of straightforwardly one-man-killing-machine characters like Rambo or James Braddock (the plot is also clearly duplicated, with gender reversals and bigger names, in “The Long Kiss Goodnight”); he’s up against corrupt men of considerable resources and firepower and has no one to turn to. The revelations of the governmental evildoers (and Kay’s brainwashing/training/deprogramming) aren’t terribly surprising, lending to a numbing of the premise, taking what could have been creative and transforming it into a plainer, more generic action yarn. Plus, the pacing, as evidenced by bland scene transitions to demonstrate the passing of time or changing of locations, is slightly off, preventing the tension from remaining high.

Fortunately, despite being a lesser star, Biehn is quite good, taking the role seriously and appearing at-home in this frayed persona. Kensit is less convincing, along with the one-note assassins and their handlers, who are a touch overdramatic. Nevertheless, despite the wealth of obligatory elements (including an out-of-place sex scene), the tone remains appropriately severe, with an entertainingly destructive finale.

– Mike Massie