Airwolf: The Movie (1984) – Review

The 80s were a golden era of television where every hero had a tragic past, every villain had a ridiculous plan, and every government agency had way too much money to spend on experimental aircraft. Enter Airwolf, the feature-length pilot that launched one of the most gloriously over-the-top TV shows of the decade. This isn’t just a movie; it’s a time capsule of everything that made 80s action great.

Before Airwolf soared onto television screens as one of the coolest action series of the 1980s, it debuted as a TV movie—a high-octane mix of espionage, techno-thriller intrigue, and airborne action. Created by Donald P. Bellisario (Magnum, P.I., Quantum Leap), this 1984 movie introduced the world to a state-of-the-art helicopter with enough firepower to take on an entire army. While it laid the foundation for the series that followed, Airwolf stands as a solid action flick that embraces the best (and cheesiest) aspects of its era. Mysterious loner hero? Check. Advanced super-vehicle? Check. Secret missions? Check. Take Knight Rider, swap the car for a helicopter, and you’ve got Airwolf.

This thing doesn’t even need K.I.T.T.

The story kicks off with The Firm, a mysterious intelligence agency that’s so secretive, they don’t even bother with a creative name. They’ve just developed Airwolf, and in typical ‘80s action fashion, the first thing they do is show it off in a flashy test run. But things quickly take a turn for the worse when the helicopter’s creator, Dr. Charles Henry Moffet (David Hemmings), decides he’s not just a scientist—he’s a full-blown, mustache-twirling villain. Needless to say, he turns rogue during the live demonstration of Airwolf’s capabilities, Moffet—who secretly harbours resentment toward The Firm—seizes control of the aircraft, using its weapons to massacre government personnel. He then steals Airwolf, escaping into the desert with the helicopter and a team of loyal operatives. He disappears into the Middle East, planning to sell the helicopter’s capabilities to hostile forces while conducting acts of terror.

This is what happens when you hire a mad scientist.

With Airwolf in enemy hands, The Firm’s director, Archangel (Alex Cord), a man who refuses to wear anything but a white suit and an eye patch, along with his beautiful Gabrielle Ademaur (Belinda Bauer) are out sent to recruit Stringfellow Hawke (Jan-Michael Vincent), a reclusive yet highly skilled helicopter pilot and one of the few people capable of handling the aircraft’s unique flight systems, in stealing Airwolf back. While initially reluctant to get involved, as he prefers to live in solitude at his cabin near a remote mountain lake, playing his cherished Stradivarius cello, he will accept the mission if the government will use its vast resources to help find out what happened to his brother who was declared missing in action fourteen years ago.

“I’m sure he’ll turn up alive by season four.”

But Stringfellow Hawke can’t do this alone. Enter Dominic Santini (Ernest Borgnine), the happiest, most lovable helicopter pilot/mechanic in the world! If Hawke is the moody antihero, Santini is his complete opposite—a cheerful, wisecracking, loyal old-timer who’s been flying helicopters since before Hawke was born. Using intelligence from The Firm (which mostly consists of vague satellite photos and Archangel making cryptic phone calls), Hawke and Santini track Moffet down to Libya, where the traitorous scientist has teamed up with Muammar Gaddafi and is using Airwolf to shoot down French fighters, blow up a United States destroyer, and just generally be a deranged lunatic.

It’s important to dress the part.

Our two heroes manage to sneak into Gaddafi’s desert compound, where they quickly discover that Gabrielle has been captured and is out being tortured by Moffet – she had replaced a murdered operative in the local nightclub but her undercover work didn’t last too long – and using some good old-fashioned covert ops trickery, Hawke and Santini manages to steal back Airwolf right out from under the noses of the Libyan security forces. 

“Pardon me while I whip this out.”

Cue the most insane aerial battle of the 1980s. Hawke takes to the skies in Airwolf, while the entire Libyan military is sent to stop them. What follows is a death-defying, high-speed, missile-filled dogfight over the Libyan desert, complete with barrel rolls, turbo boosts, and some very dramatic intense glaring. Hawke, being the superior pilot, outmanoeuvres the enemy at every turn. After a fierce battle, blowing up numerous helicopters and tanks, he finally gets to end Moffet’s reign of terror as he blasts him to oblivion with Airwolf’s devastating firepower. 

The stare of Death.

With Moffet dead and Airwolf recovered, Hawke does what any reasonable hero would do: He refuses to give the helicopter back. Yep, instead of returning Airwolf to The Firm, Hawke flies it to a hidden desert canyon known as the Valley of the Gods and stashes it away, vowing to only use it when he sees fit. The government is obviously not thrilled about this arrangement, but they don’t have a choice, so to obtain access to Airwolf, Archangel offers Hawke protection from other government agencies who might try to recover Airwolf; in return, Hawke and Santini must fly missions of national importance for The Firm.

“This is the beginning of a beautiful franchise.”

Stray Observations:

• The movie opens with Airwolf being tested near the famous desert location of Vasquez Rocks, if only we got to see Jan-Michael Vincent versus The Gorn.
• The original Airwolf pilot movie did borrow elements from the film Blue Thunder, particularly the character of the villain, played by Malcolm McDowell who was also British.
• The colour, make and model of the ‘Airwolf’ helicopter was a standard Bell 222 chopper which was black and modified by the attachment of some movie props. Not as cool looking as Blue Thunder but still pretty cool.
• The name of the government agency which developed the Airwolf helicopter was ”The Firm.” Sadly, there is no evidence that Gene Hackman or Tom Cruise worked for this particular firm.
• Hawke’s brooding cello solos – Nothing says “dangerous man with a past” like playing Bach alone in a cabin.
• That Airwolf theme? Pure synthesized perfection. It makes any scene feel like the most epic moment of your life. If you played it while doing laundry, you’d feel like you were saving the world.
• Airwolf can outfly jets, it has radar-cloaking capabilities and air-to-air and air-to-ground missiles. electronic countermeasures to jam enemy systems, reinforced with bulletproof plating and can withstand heavy attacks and probably make you breakfast if you ask nicely. 

Airwolf is the helicopter equivalent of a video game cheat code.

Unlike the later television series, the movie version features more brutal action, implied torture, and an overall grim tone. It was later edited for TV, but in its original form, it’s way more intense than you’d expect. This pilot is steeped in Cold War paranoia, betrayal, and even psychological trauma. As a standalone movie, Airwolf is a fun but flawed action flick, best enjoyed as a launchpad for the much-loved TV series. The concept of a super-powered attack helicopter, paired with spy-thriller storytelling, was enough to make it a hit, even if it never quite reaches the heights of more cinematic action fare. Fans of ’80s television and military tech will find plenty to love, but for newcomers, it’s best to watch as a curiosity piece before diving into the show.

Can you get 80s synth out of this thing?

On the acting side of things, Jan-Michael Vincent delivers a subdued yet effective performance, portraying Hawke as a man of few words but immense skill and as a leading man he could give Clint Eastwood a run for his money in the brooding department. Then there’s Ernest Borgnine’s Dominic Santini who provides the film with its emotional core. Borgnine, a seasoned actor, brings warmth and humour to the role, balancing out the film’s darker tones and is considered by most to be the heart of the movie. As for the villain, David Hemmings’ portrayal of Dr. Moffet, while somewhat over-the-top, serves its purpose in making him a convincingly sinister antagonist. Hemmings is deliciously slimy as the unhinged, sadistic scientist-turned-terrorist. His scenes, especially his twisted enjoyment of his own destruction, give the movie an extra layer of menace.

“If only I had a moustache to twirl.”

The true star of the movie? Airwolf itself. This isn’t just some fancy flying machine—it’s a heavily armed aerial death machine that can outmaneuver fighter jets and obliterate enemy bases. The aerial cinematography is top-notch, with practical stunt work that makes each dogfight feel intense. While the special effects are limited by the constraints of a television budget, the film compensates with tight cinematography and innovative camera angles that enhance the illusion of speed and firepower. The action sequences set a high standard for the series, ensuring that viewers were hooked from the beginning. Moffet’s initial theft and attack on a desert base show off Airwolf’s destructive power in brutal fashion. And when Hawke finally gets into the cockpit for the climactic showdown? It’s pure 80s action gold.

Bringing peace to the Middle East.

Beyond its action-packed sequences, Airwolf delves into themes that would remain central to the series. The idea of a powerful weapon being controlled by an independent operator rather than a government body raises moral and ethical questions. Hawke’s distrust of authority, his personal quest to find his brother, and his internal struggles with violence add depth to the show’s premise. These themes helped distinguish Airwolf from other action-oriented series of the time, making it more than just a showcase for explosions and aerial stunts. The pilot does attempt to toss in a little romance, sex sells you know, but even Gabrielle’s beauty has a hard time getting through Hawke’s extreme stoicism. Not that this particular relationship had much of a chance to grow.

“Sorry, a relationship would interfere with my brooding time.”

While the Airwolf television series went on to have a legendary run, nothing beats the sheer excitement and cinematic spectacle of this movie. It’s a high-flying, missile-firing, turbo-boosting thrill ride that delivers espionage, explosions, and enough Cold War paranoia to fuel a dozen action movies. It’s grittier and darker than the series that followed, but that works in its favour, making it stand out as more of a cinematic experience rather than just a TV show kickoff. If you love ‘80s action, spy thrillers, or just think helicopters are cool (and really, who doesn’t?), Airwolf is a must-watch.