Gunnery Sergeant Burns reports for duty to an American Embassy in the Middle East. However due to the 'enlightened' views of the Ambassador, the marine security detachment he is in charge of is severely restricted in their functions and presence to avoid upsetting the host government. As a result, when terrorists attack the compound, they are able to kidnap hostages and escape with little opposition. Burns ignores the Ambassador's restrictions, and throws the rule books out the window, as he becomes a one man army in an attempt to rescue the hostages, and wipe out the terrorists.
Gunnery Sergeant Burns reports for duty to an American Embassy in the Middle East. However due to the 'enlightened' views of the Ambassador, the marine security detachment he is in charge of is severely restricted in their functions and presence to avoid upsetting the host government. As a result, when terrorists attack the compound, they are able to kidnap hostages and escape with little opposition. Burns ignores the Ambassador's restrictions, and throws the rule books out the window, as he becomes a one man army in an attempt to rescue the hostages, and wipe out the terrorists.
The film explicitly promotes conservative values by championing military honor, individual responsibility, and decisive, extra-legal action against foreign threats, while implicitly critiquing bureaucratic inaction as the central solution to its core conflict.
The movie features traditional casting with a white male lead and supporting characters, without intentional race or gender swaps of traditionally white roles. The narrative frames traditional identities positively, portraying the white male protagonist heroically without any explicit DEI critique.
The film portrays its primary antagonists as radical Islamic extremists who engage in kidnapping, torture, and murder. Their actions are depicted as driven by a fanatical interpretation of their faith, with no counterbalancing positive portrayals or nuance offered by the narrative.
The film 'Death Before Dishonor' does not feature any identifiable LGBTQ+ characters or themes. Its plot is centered on military action and hostage situations, with no elements related to queer identity or experiences.
The film primarily features male characters in combat roles. No female characters are depicted engaging in or winning close-quarters physical combat against one or more male opponents.
Death Before Dishonor (1987) is an original film and not an adaptation of existing source material, a reboot of legacy characters, or a biopic. Therefore, no characters had a pre-established canonical or historical gender to be swapped.
Death Before Dishonor (1987) is an original film, not an adaptation of pre-existing material or a biopic. All characters were created for this specific movie, meaning there is no prior canonical or historical race to compare against for a race swap.
Combines user and critic ratings from four sources