Since I haven't seen this since the turn of the 21st century, it would be interesting to see again just to see Marg Helgenberger. I really wasn't that familiar with her when I saw this movie a couple of times in the late '90s, although I had seen her before. However, now she's a very familiar face thanks to the hit CSI television show.

Anyway, the movie was a typical Steven Seagal film in that he's the likable hero, you had despicable villains that were easy to hate, and every action scene is Rambo-like in which Seagal never misses injuring his foes.

One big difference in this film from his earlier efforts: an emphasis an aesthetic cinematography. This had some beautiful rural scenes of Kentucky and in particular, a church on a top of a hill, in which a number of scenes take place. Not only is the country scenery nice but there are some good country songs in here and better yet - blues guitar music in the background throughout the movie. All of this was different for a Seagal film. Of course, the nice scenery was probably due to the fact Seagal played an Environmental Protection Agent ("Jack Taggart").

Also different was the fact that Helgenberger ("Sarah Kellogg") was not the typical gorgeous young sexpot normally paraded out in these martial arts films, but was rather plain with no makeup. She wore conservative clothing and showed no skin. (Contrast that to her CSI roles the past six years) Then again, Appalachia being the setting for this story, her dress and manner was appropriate and realistic.

Language-wise, most of the hard profanity comes from Kris Kristofferson's villain character, "Orrin Hammer, Sr.," in the first hour.

How they treated "religion" in this film was bizarre. Good, bad, good, bad - like watching a tennis match. The country reverend was the typical Hollywood wishy-washy minister: the kind would NOT see in this area in real life. The screenwriters are so clueless Seagal called him - a Protestant minister - "father" - as if he was a Catholic. Anyway, the wimpy reverend does "come around" at the end.

More examples: good-guy Seagal bows his head in prayer at church but also tells Helgenberger that "I don't hand out bibles." He also mentions UFOs and Zen to a sick little boy but also mentions "God's work" other times. He covers all the bases, I guess, from occult to the real thing. The bad guys attend church, but then they burn it down! Harry Dean Stanton tells someone that "church people talk down the others," but the next scene something positive is shown. I'm telling you: the theology in here would make your head swim.

Seagal plays a smug kind of guy but his smugness doesn't translate into an offensive jerk, perhaps because his character is so soft-spoken and he is, after all, the good guy. Every action scene in here is a Rambo imitation in which Segal beats up his opponents no matter how many of them are against him. It's ludicrous. Yet, most of the time it's enjoyable enough to watch and the sound-effects on those fights are actually entertaining, almost humorous.

About the film, I still like the blues guitar and the Kentucky scenery the best. The rest of it is pure Seagal nonsense....but entertaining.

unlike most of seagal's earlier films with almost too much action,fire down below takes its time to weave another true to life tale of the abuse done to our earth by corporate americia. folks,this kind of stuff goes on everyday and it's films like these sneak a message into you without beating you over the head with it.those who are expecting plenty of guns and bodies flying all over the place every 5 seconds will be disappointed,but those who have a better view of the movie genre can enjoy this film better.

A latter-day beat-em-up starring action man Steven Seagal in the midst of his environmentally friendly persona, this is actually better than one might expect and it turns out to be one of Seagal's best movies. Certainly, the direction, supporting cast, action, and script are a lot better than one would expect from the straight-to-video genre and Seagal puts in one of his most commanding performances in recent years, even if he does insist on wearing silly looking clothes. Fine photography of the setting and a foot-tapping bottleneck score add to the experience and I can safely say that I enjoyed every minute of this yarn.

If you remove all of the romance, incestuous brother/sister relationships, corrupt businessmen, and porch-building interludes which pad out the story what you're left with is a basic tale of Seagal vs. a large number of bad guys. There's nothing wrong with this in my mind and the action, when it comes, is authentic if a little tricksy with the camera at times. Watching Seagal take out a gang of weapon-wielding thugs within a matter of seconds is always great fun and the violence comes hard and fast, just like Seagal's punches - it's nice to see it hasn't been toned down in what is otherwise almost a family tale, or perhaps western-based fable. Although a shoot-out in a toxic mine is mishandled, each and every other moment of action in the film is cool and worth waiting for.

Aside from Seagal, delivering once again a quietly-spoken, impassive, and eco-friendly hardman like in all of his other movies, we have some good actors turning up in the supporting cast. First up is Marg Helgenberger as the fragile love interest who (as always) puts in a decent and commendable performance. New faces like Stephen Lang (AVATAR) and Brad Hunt (a wimpy kid) give interesting turns whilst the heavy stuff is left to Kris Kristofferson. Then there's old-timer Harry Dean Stanton (who sings!) putting in a sympathetic role as, well, an old-timer, and some decent heavies for Seagal to go up again.

The action-focused plot moves along quickly and offers up plenty of incident in its running time. There are car chases, an amazing stunt of a tanker crashing over a cliff, shoot-outs, bar-room brawls, and plenty of other cool bits for genre fans to enjoy, all performed stylishly and exciting. Yet, crucially, the story itself would work well without these so they can be enjoyed as added bonuses rather than carrying the film along as in so many of Seagal's lower-budgeted productions. A crime that decent action fare like this is relegated to the straight-to-video market when the bigger-bucks brainlessness of UNIVERSAL SOLDIER: THE RETURN still makes it into the cinemas.