Michael Mann is indeed one of my favorite filmmakers of all time. Without him, I would not be the independent filmmaker that I am today dabbling in the neo noir world of crime thrillers. For Mann, his theatrical career began here with this sleek and stylish picture headed up by an incredible performance from James Caan. The cinematic visuals of Miami Vice were forged here, and the foundations of the thematic material that would be refined in Heat and Collateral were laid with Thief. While Mann had directed and co-written the television movie The Jericho Mile before this, featuring some very familiar traits, Thief was the start of every signature quality that Mann is best known for, and it is a film that should be given its proper due respect and recognition.
James Caan plays Frank, a professional jewel thief who wants to marry Jessie (Tuesday Weld) and settle down into a normal life. In order to achieve his dream of a family, Frank–who is used to working solo–has to align himself with a crime boss named Leo (Robert Prosky), who will help him gain the money he needs to begin his domestic life. Frank plans to retire after the heist, yet he finds himself indebted to Leo and he struggles to break free.
I was captivated all over again by Thief just from the beginning as it enveloped me in the sheen of its rain soaked Chicago nighttime world, and the sleek, stylish score by Tangerine Dream. This was the first film of Mann’s I ever saw, and I was blown away by it well over a decade ago. One of the most lasting impressions is indeed Mann’s neo noir cinematic style. Everything he does here really defined so much of the 80’s with the synthesizer score and the masterful visual storytelling. When you see the sleek and rock solid camera work in Thief, it’s sad to see how horribly Mann has embraced the incessant handheld camera work as seen in Public Enemies. The compositions here are dead-on-the-mark, and shots like pushing in through the drilled hole in the safe early on just show the enveloping visual brilliance of Mann. He knew how to suck you into this world, and keep you hooked in for the long haul. Thief was shot by first time cinematographer Donald Thorin who would go on to lens Purple Rain, The Golden Child, Midnight Run, and Scent of a Woman, to name a few. There was clearly no one better for him to be under the direction of than Michael Mann, and Thorin did a stunning job shooting Thief.
This is undeniably James Caan’s movie through and through. It is no mystery why this is Caan’s personal favorite performance of his. He is simply excellent, intense, and touchingly dimensional here. Frank is a man who’s had a lot of bad turns in his life spending a good chunk of it in prison, and is now struggling to reach a blissful goal of a happy home and family. He is a definite tough guy able to be a threatening presence, and has the charismatic bravado to back it all up. Frank’s not much of a subtle individual, but he’s a man who feels he has no time to dance around the subject. Every word he speaks is carefully selected and clearly conveyed which makes him appear well-spoken even if he’s not the best educated man. Caan injects the right amount of confidence into the role to mask Frank’s occasional naivety. Caan’s favorite scene is the highway oasis diner scene where Frank details his life, hardships, and dreams to Jessie. This scene shows the subtle emotional qualities of Frank to see the better man underneath all the bullheaded machismo, and this scene strips him down to bear his heart to her. Frank shows that he is charming, sweet, and very human. Despite the hardened criminal life he has had, all he wants is a simple, happy life, and that desire is much of what endears him to an audience. However, in the end, he must return to his base, primal convict mindset to survive.
Tuesday Weld holds up very strongly opposite Caan with both an enduring spirit and a gentle tenderness. Like Frank, Jessie is also a tough person who really now reveals in an ordinary life, and what begins as a very combative relationship soon warms up to very heartfelt levels. There’s a solidly genuine chemistry between Weld and Caan that brings a lot of heart and depth into this very gritty, hard edged crime thriller. Their final parting scene is powerful on so many heartbreaking levels, and shows, definitively, that Tuesday Weld was no lightweight acting talent.
There is a startling turn that Robert Prosky achieves as Leo that solidifies him as one of the best mob figures in cinema for me. For so much of the film, he’s a fatherly figure giving Frank every means to achieve his goals, and being nothing but an agreeable, upbeat, friendly facilitator. He gives Frank high line scores, an adopted child, a home, and much more. The problem is that once Frank tries to sever ties with Leo, he’s given a very sobering reality check – everything Frank now has is essentially owned through Leo, and he can rip it all away. This scene is where Prosky transforms into a cold, heartless, ruthless man who will have Frank’s friends killed, prostitute his wife on the street, and put Frank completely into indefinite servitude. Prosky becomes flat out chilling in this scene as a man you utterly do not want to cross, but the price for having this comfortable life comes at too high a cost for Frank. So, he has no choice but to retaliate by burning it all down.
Michael Mann did a very clever thing in casting the supporting cops and criminals, and thus, made it very authentic to Chicago. All of the cops were cast with ex-convicts including John Santucci who was the basis for Frank, and all of the criminals were cast with actual Chicago police officers such as Dennis Farina in his first on-screen role. This way, we got very open and honest portrayals of the not-so-straight-and-narrow Chicago police of the time. This sort of close knit connection to the authenticity of these sides of the law carry over into the intricacies of the heists. None of the heists here are sensationalized or simplified. We see the complex and highly involved process that Frank and his crew have to go through to take a single score, and this is achieved with great skill. The depth of detail that Mann shows us allows for the audience to appreciate the triumph of the score. Furthermore, all of the equipment featured was accurate to how they were used in the film, and considering the film is based on a novel by a convicted thief, none of this should be too surprising. However, it demonstrates the intense attention to detail that Michael Mann consistently put into every project he took on, and that has always impressed me and has really set Mann’s work apart from all others. Lesser filmmakers would gloss over the details and sensationalize the story, but the grit is in the details.
There is also a good but small performance by Willie Nelson who portrays a mentor of Frank’s that is dying behind prison bars. Caan and Nelson have only one real scene together, but it really brings a lot of the life and philosophy of these criminal characters to the forefront. And Thief really is built so much on personal philosophies such as lie to no one, be the boss of your body, or live your life on your own terms. This all feeds into how Frank navigates this film. He divulges everything to Jessie because his previous marriage fell apart due to his lies. He is hesitant with going into business with Leo because he enjoys answering to no one and calling his own shots, and is ultimately why he makes the radical decisions he makes at the end of the film’s second act.
Frank’s actions in the third act might seem like those of a young man of heated passion, as they are somewhat impulsive and absolute, but they fit Frank’s “the boss of my own body” attitude. He will not allow the terms of his existence to be dictated by another, and if that is the cost of having all the things he desires, then he’d sooner see it all turned to ashes. Frank returns to that prison attitude of “nothing means nothing,” and it frees him to destroy it all and go after Leo without any attachments. This is clearly a precursor to the philosophy of Neil McCauley in Heat that, “Allow nothing to be in your life that you cannot walk out on in thirty seconds flat if you spot the heat around the corner.” All of this makes for one awesome, amazing finale that just certifies James Caan as a bad ass. How Frank’s stalking through Leo’s house unfolds, with almost dead silence, is perfectly executed. The quiet tension just unnerves you, and builds up that tingling anticipation until all hell breaks loose. From there, it’s all scored with this excellent track from Tangerine Dream that I love. And overall, their score is innovative and captivating. It all reflects Michael Mann’s signature vibe perfectly with sleekness and edge.
Thief is an intensely exciting movie with a very grounded feeling. Seeing Mann’s visual style unfold here is amazing, and James Caan puts on an excellent, versatile performance that enhances every compelling element of the movie. It’s stunning to see how quickly Mann evolved in his career where so many of the ideas and visual storytelling here would be refined and matured within three years for the launch of Miami Vice, and the major leap forward taken in 1986 with Manhunter. Whether you are a Mann or Caan fan, this is a film you cannot afford to overlook. No one makes crime thrillers quite like Mann did as he made sure every quality and acting talent was superb and pitch perfect while always delving into the humanity of the story. With Mann it’s always about the characters, and you see the depth of that care put into this movie. If you want an even further in-depth look at the films of Michael Mann, I immensely endorse the video essay Zen Pulp: The World of Michael Mann. It is remarkably insightful that really inspires me.
In the 1990’s, there were a lot of action movie stars popping up, but most didn’t have what it took to break out of the direct-to-video market. However, I think Thomas Ian Griffith really had the talents to make it, but never really did. This might be a simple fact of not having a breakout film or role like Steven Seagal or Van Damme had early on. Regardless, Griffith had two vital qualities of a successful action hero in the 90’s. First off, he was trained in Kenpo Karate and Tae Kwon Do, so, he could do far more than just shoot things up. Secondly, he had charisma to spare making for some fun, lively performances. All of this could be seen as the villain in The Karate Kid, Part III, of which he was the best thing about that movie. So, I want to explore some of Griffith’s action films and find out exactly what he had to offer. With Excessive Force, Griffith is supported by such solid actors as Lance Henriksen, James Earl Jones, Tony Todd, and Burt Young for something that looks very solid, but let’s see if it really holds up to that appearance.
When $3 million disappears during a drug bust, undercover Chicago cop Terry McCain (Griffith) is pitted against Sal DiMarco (Burt Young), a sadistic mob boss who will do anything to get his money back, and a conspiracy of corruption from within the police department. After McCain’s partner is brutally murdered and his ex-wife is threatened, he strikes back the only way he knows how – with force! Framed for a murder he didn’t commit and hunted by his own friends on the force, McCain finds refuge with his old pal Jake (James Earl Jones) and his ex-wife Anna (Charlotte Lewis) as he’s lead into a desperate showdown with dangerous forces.
This movie has a fairly straight forward plot with only a few clever turns, but it’s not intended to be a wickedly twisting and turning crime thriller. It starts out as a revenge movie, but then, shifts into a web of deceit as McCain goes on the run once people start gunning for him. The script by Thomas Ian Griffith really makes good use of Chicago to this effect. He really incorporates the crooked politics and mobbed up history of it in a couple of smart ways. There are corrupt cops and deceptive allegiances at play in this story, and it really feels like authentic Chicago organized crime. The story twists around enough to where Terry doesn’t know who he can trust, and thus, he feels betrayed by every friend he has left living. It’s never a very taut sort of plot thread that forces McCain into heavy paranoia, but its place in the story is dealt with quite well and where it’s most effective. It also has some good pay-off and turnarounds at the end.
Thomas Ian Griffith leads this film very solidly. Having wrote the script himself, the more personal depth of his performance is apparent. Early on, we see the driven, charismatic, and lively cop who can kick ass with the best of them. He sets the energy for the film from the start, and continues to keep it exciting and interesting. As events progress, we see the drama and emotion sink into Terry McCain with plenty of weight that propels him forward through the film. Griffith has great chemistry with everyone especially Charlotte Lewis, Tony Todd as a fellow cop Frankie Hawkins, and Lance Henriksen as the soon-to-be Police Chief Devlin. Terry and Anna gradually reconnect and spark off some steam later on, but it’s very brief. Surely, a hot, erotic sex scene would be gratuitous, but I would not have complained if they injected some of that.
And of course, Griffith delivers on the action. I was really impressed with the martial arts moves he employed, mainly the number of high and roundhouse kicks he dished out. He really kicks some guys silly, and bashes up a lot of heads on a regular basis. While its not as intense as what Seagal was doing at the time, Griffith has his moments of bone breaking bad assery. If there’s any one shortcoming is that there’s no adversary that’s a real physical challenge for him, and so, there’s not a great single fight that stands out. Regardless, the action scenes are all very competently shot, choreographed, edited, and solidly executed overall.
Burt Young is pretty impressive as a ruthless Mafioso. He’s bluntly violent killing someone with a pencil through the ear, and having peoples’ legs bashed in with a baseball bat. He’s quite convincing with the balancing of the supposed sophisticated businessman and the merciless big crime boss. However, his screentime is shorter than you’d expect, but it leads to more interesting plotlines.
Also, the role of the police commander can often fall into clichéd territory, but thankfully, Lance Henriksen does a very subtle, understated job with Devlin. While he and McCain aren’t the best of friends, they can have respect despite their friction, and it’s really that relationship which gives Henriksen something fresh to work with. I also especially like the turn he has about halfway through as he becomes a bit more sleazy and brazen. As he gets deeper into this character, Henriksen gets more and more awesome.
I dearly love Tony Todd. Many know him as the horror icon Candyman, but he has such a wide range of talent that he also excellently displays here. He has one great scene in this film of emotional depth and strain which really sets him apart as a special, standout actor. A lot of other actors wouldn’t have put as much real heart and passions into such a small supporting role, but Todd does nothing less than superb work in everything he does.
These characters are interwoven into this decently forged conspiracy effectively. There’s a surprise or two to be had, and the characters themselves are fleshed out by the performances even if the dimension isn’t written on the page. A really good actor can always add and enhance what’s written in the script into something special or at least entertaining. I’ve seen enough standard fare action movies where lackluster performances make the film nothing but mediocre. Yet, vibrant and solid ones can make all the difference, and that’s certainly the case here. Like I said, when I saw the cast list I was impressed and intrigued if that acting quality would show through, and I think it really, really did.
The score of this movie was surprisingly done by Charles Bernstein, who I’ve only known from A Nightmare On Elm Street. His work here is distinctly early 90’s action, but he mixes in enough dramatic cues and moments of tension in certain scenes to give it some personality. James Earl Jones’ character of Jake runs a jazz club, and so, we get some smooth, lively sounds out of that early on. Bernstein’s score surely isn’t going to stun and amaze you, but it does its job very, very well. I would suppose that’s a good summation of the whole movie.
Excessive Force is not a great action movie, but it’s a really good effort that I did like. The script is well written, and very well directed by Jon Hess, but it’s really the exceptional acting talents of its admirable cast that allows this movie to be as good as it is. If filled with lesser grade talents, this would really falter, but putting guys like Griffith, Henriksen, Todd, Jones, and more into it gives it some extra substance. Each of them really put a real dedicated effort into their roles, and it made the film enjoyable outside of the nicely put together action scenes, of which Excessive Force does have a nice even helping of. Something exciting does happen about every ten to fifteen minutes, but the pace overall is quite consistent and well balanced to make it feel natural. There’s never action just for the sake of action. It all flows from the slightly twisting story, and Griffith’s athletic talents really make it all work. He certainly shows a lot of potential here in all aspects, and he’s a really fun, exciting lead. While Excessive Force doesn’t have the makings of a blockbuster success, I think it deserved better than grossing less than half its $3 million budget at the box office. It’s not a big explosive thrill ride, but it’s quite an enjoyable piece of low budget action fare.
This is an overlooked gem in Arnold Schwarzenegger’s filmography, in my opinion. It’s an action film that I’ve loved for many, many years back to when I bought the widescreen VHS in a nice clamshell case. Today, I’ve got the bare bones DVD which still presents the film beautifully. I had intended to devote January to being a Schwarzenegger month with a slew of reviews of his films, but let’s say I’ll be getting around to those throughout the year. Today, it’s a fun look at Raw Deal!
A Chicago Mafia is violently doing away with witnesses who were to incriminate them in court, making it clear to the FBI that they have a leak of information in their ranks. Mark Kaminsky (Arnold Schwarzenegger) is an ex-FBI Agent, a former FBI agent forced to resign from the Bureau due to excessive violence, is now a small town sheriff. FBI Chief Harry Shannon (Darren McGavin), whose son has been killed by a mobster named Petrovita (Sam Wanamaker), enlists Kaminsky in a personal vendetta with a promise of reinstatement into the FBI if Patrovita is taken down. Kaminsky eagerly accepts the challenge and is prepared to infiltrate and tear apart the Patrovita machine without the consent, knowledge, or protection of any law enforcement agency. But once he’s in, he can’t get out and when a gorgeous mole is paid off to betray him, he becomes trapped in a deadly game where loyalty means nothing and there is only one person he can trust. Using his own brand of justice, he begins an action-packed journey into the murderous world of the mob and will stop at nothing until he has successfully completed his mission.
This is definitely a bit of a different story than you would usually find Arnold in. Something about corruption in law enforcement and mobsters warring on the streets of Chicago is a little different than secret agents, commandos, or ass kicking cops. However, Arnold fits comfortably and sharply into this context. We usually see him in more straight up action roles, but Raw Deal required Schwarzenegger to be more slick and smart in how his character operates. That classic Arnold charm is what really propels him through most of it. A confident, smooth manner is what takes care of the rest. There’s enough wit and smarts in his performance to maintain that sly sensibility to keep Kaminsky likable and entertaining. Yet, Arnold is able to bring out the tough bad ass competently and effectively. As is no surprise, he’s excellent in every action scene with plenty of physical combat to get his hands dirty.
There are a lot of great one-liners from Arnold that I’ve considered solid classics. It’s smart, fun writing that makes Kaminsky an enjoyable hero while never damaging the dramatic qualities of the film. It’s a nice balance handled by director John Irvin. Without these moments, the film could get a little dry, but we get nice dashes of that charm and wit to liven it up where need be.
Schwarzenegger strikes up some great chemistry with Kathryn Harrold’s classy, yet assertive Monique. What’s nice about this film is that while it does have multiple plot threads and character relationships going on, both friendly and adversarial, it never gets complicated. This is well reflected between these two characters. It has its sweetness as well as its conflicts. They build an enjoyable relationship between affectionate charm and some heated disagreements, but ultimately, it’s a simple romantic storyline that allows Kaminsky to regularly show his humanity and compassion.
There’s also a fine performance by Darren McGavin who mixes the conviction of a man needing justice with that of a heartfelt friend and father. He pops in and out of the film, but his scenes have substance that hold the underlying plot together. Joe Regalbuto creates a nice counterbalance playing up the bureaucratic, slightly snide mentality of Special Prosecutor Baxter, the man who forced Kaminsky out of the FBI. We soon see that he is justifiably despicable, but also, surely lacking in backbone when things got hot.
The supporting cast has plenty of solid talents. Robert Davi is great as the somewhat blunt instrument of an enforcer in Patrovita’s organization. Davi always does top notch work, and he adds a good rough, arrogant quality to Max playing opposite Schwarzenegger’s smoother undercover persona of Joseph Brenner. Everyone from Sam Wanamaker to Steven Hill put in very authentic performances as Chicago mobsters. They have that refined, high class, yet detestably corrupt quality which Chicago residents are all too familiar with. Ed Lauter is damn good as Federal Agent Baker who showcases some wit, charisma, and levity to make him quite engaging and memorable. Overall, Raw Deal doesn’t have a single weak link amongst its highly talented cast.
The score has some nice qualities to it. The action scenes have a strong driving rock sound to them that really kicks some ass, and adds more punch to each sequence. The dramatic scenes are more subtle keeping them generally low key but decently effective. In one instance, where Kaminsky and Monique are indulging in some campaign, we are treated to a nicely elegant saxophone as it becomes a lightly sexy moment with a humorous beat at the end.
I also think Raw Deal is very well shot making fine use of the 2.35:1 aspect ratio. John Irvin and his cinematographer utilize very good camera movement and solid angles and compositions. These are good, intelligent filmmaker who know how to dramatically stage a scene with smart camera work and very good lighting. They show off some fine 1980’s elegant production design, and also give us some punch in a night club scene with vibrant colors. For whatever reason, Chicago in the 1980s and early 90s looks quite different on film than it does today. A good deal has changed since then with more development all over the place, and it’s kind of intriguing to look back on a film like this that shows off some good landmarks of the city. There’s an entire car chase that runs through Navy Pier, which is essentially a big amusement park area with a Ferris wheel, concert venue, attractions, and a movie theatre today. Here, it’s dead empty.
But yes, indeed, this film features some solid action scenes. As I mentioned, Arnold is great getting hands-on in the fight scenes, and that car chase is really damn good with mobsters trading gunfire at high speeds. There’s enough action to satisfy right from the beginning with a mobster raid on a safe house where a witness is executed. I also love Arnold plowing a truck through the front business of Lamansky’s casino. But for me, the absolute BEST action scene comes when Kaminsky assaults the quarry where he provides his own soundtrack by putting a cassette tape of the Rolling Stones’ “Satisfaction” on the convertible car’s stereo and blasting it as he drives around picking off bad guys. There’s just putting a cool song added onto the soundtrack, and then, there’s the character himself providing his own action scene soundtrack. That’s purely priceless and it is one of my favorite moments in a Schwarzenegger film. It’s just awesome! This scene even starts out with the standard “arming up” scene where Kaminsky unfurls his arsenal of high-powered firearms and dons a slick leather jacket.
Following this up is the real big climax where Kaminsky goes for broke and unleashes a barrage of gunfire upon his enemies. There’s a great catalyst to all of this from the undercover operation to pure action revenge onslaught involving Harry. While it essentially negates all the attempted undercover manipulation and deception, it’s ultimately what you are waiting for. This is what makes it a Schwarzenegger action movie. Him spraying automatic gunfire in a stellar action climax that is awesomely shot, edited, and executed. Arnold goes into full bad ass mode taking something like the police station massacre in The Terminator and upping the action hero intensity with motivations of revenge and vindication. And it still has great, clever moments. It’s just an excellent climax to a rather fun film.
I will certainly say that Arnold has many greater movies than Raw Deal, but even then, it’s far from being a bad film. There are solid performances all around with a good, well put together plot that keeps it simple and straight forward while delivering plenty of entertainment value. It surely had enough plot potential to be a bigger, more complex and involved film than it was, but it sort of wisely avoids doing that knowing this is a Schwarzenegger vehicle. It’ll give you a good plot, but it’s going to keep it nicely focused on his character and maintain a good dosage of action. The film did fairly well upon release, but surely has been one of Arnold’s lesser regarded films. I think it’s fun while still providing some good dramatic and romantic qualities. Arnold himself does a fine job where he clearly was having a fun time. Like I said, it’s not entirely typical of his films with it’s more slick, dramatic tone and some sentimental qualities near the end, but it’s an enjoyable 104 minute action flick. It’s got enough entertainment value between everything Schwarzenegger is doing in this role and the solid action sequences delivered by director John Irvin. As something from De Laurentiis Entertainment Group, I think this nicely meets those expectations. I definitely recommend it for a fun time.
So, after watching The Exterminator this morning, I chose to follow that up with a 1988 entry into James Glickenhaus’ filmography starring Peter Weller and Sam Elliott. Backed by Universal Pictures, this film is a warp speed jump ahead in polished filmmaking, tight storytelling, and an entertaining picture with lots of energizing action. Yet, it has plenty of substance and strong characters realized by great actors. Shakedown was a fun ride that I would like to share with you now.
When a local drug dealer shoots a dishonest cop in self-defense, lawyer Roland Dalton (Peter Weller) and renegade undercover cop Richie Marks (Sam Elliott) join forces to clear him. But when their investigation leads them into a maze of greed and corruption, they learn that in a town where everything is for sale, anything can happen. Amidst this, Dalton realizes the prosecutor in this, his last case, is a former love interest, the smart and sexy Susan Cantrell (Patricia Charbonneau). Throughout the trial Roland rekindles this former affair with Susan unbeknown to his fiancée Gail (Blanche Baker). All of this twists and turns around Dalton and Marks as they battle through the web of corrupt cops who’d sooner see them dead at every turn.
This is a top notch movie all the way through. We’re given a story that is sharply put together that always holds your attention, and keeps something moving forward at a tight rhythm at all times. There are enough interconnected threads to allow the film to do that, but not remotely so many as to complicate things. The trial of the drug dealer ties into the corrupt dealings of these New York cops, and with Dalton being the central focus of this plot, his own personal relationships branch out from that. So, there’s always something unfolding and weaving its way into the momentum of the story to keep that energy and pace up. Yet, even though the film has a polished style, it still delves into that seedy underbelly of New York that James Glickenhaus enjoyed spotlighting in his films. So, we get something sharp, sleek, and immensely entertaining while still having that underlining presence of the sleazier side of things. Glickenhaus hits the mainstream with great success fueled by a very well written script, and a spectacular cast of talent at his disposal.
Peter Weller is just amazing in this movie. As Roland Dalton, he’s a very charismatic and lively guy who loves his Jimi Hendrix and has plenty of enjoyable flare. He’s a very relatable and intelligent character portrayed by an actor who exemplifies those qualities. Weller works the courtroom scenes with compelling energy and sharp wit. He also carries strong emotional and dramatic weight throughout the film. The building romantic relationship with Susan is touchingly handled with beautiful chemistry. It help creates a full, well-rounded character that has various aspects to his life that all tie into the threads of the plot. Weller really does have the meat of screentime, and thus, properly gets top billing. Weller’s character never shies away from action or danger in his pursuit of truth. He regularly gets himself into dangerous scenarios, but is able to handle himself competently. Weller takes all of this in stride melding together a very fascinating, dimensional, and entertaining character. I loved watching him every minute he was on screen.
Of course, this takes nothing away from Sam Elliott who fits comfortably into this rugged loner. Richie Marks is very grounded, soaked into the thick of the grit of the city. We first meet him waking up in a 42nd Street grindhouse movie theatre with crack vials littering the floor, and brushing his teeth in the graffiti laden restroom. This is a guy whose luck is just about dried up, but he’s still a solid cop that can rundown the worst the New York streets have to offer. Sam Elliott was only 43 years old when he made this film, and so, his shaggy gray hair and beard make him look older and gruffer than he truly was. Thus, he was still able to throw himself into some physically demanding action scenes, which are great. Elliott has a sly personality and fine charisma that make Richie charming in contrast to the filthy environment he surrounds himself with. He’s a straight arrow cop that knows the crooked dealings in the department, but until now, hasn’t had much motivation or back-up to do anything about it.
Elliott and Weller simply work excellently together. It’s not the typical buddy cop formula where two conflicting personalities clash with a single purpose to bond them. Dalton and Marks might be distinctly different in how they lead their lives, how they present each other, but they are similar-minded men of law and justice that don’t need convincing to join forces. They’re friends from the outset, and we see they are more alike than superficial appearances would suggest. The two actors are tight fits, and have a sharp chemistry and wit that keeps the film energetic and entertaining.
Every other actor in this film does a tremendous, expert job. I’ve loved Larry Joshua in everything I’ve seen him in, and he portrays the main corrupt cop Rydell. He’s got that streetwise, slimy quality mixed in with Joshua’s usual charismatic edge and energy. Rydell is enjoyably corrupt with just the right amount of despicableness to make a villain you love to hate. You really want to see him taken down well before the end Patricia Charbonneau is excellent as Susan Cantrell. She brings a lively vibe with her, but balances that with a solid, assertive dramatic presence in the courtroom scenes. It’s a full, well-rounded performance that holds up strongly opposite Peter Weller. Richard Brooks, who portrayed Paul Robinette on the first few seasons of Law & Order, portrays the drug dealing Michael Jones, and he is a really, strong fit for this role. It’s also a very well written role that works very much to Brooks’ strengths, and he couldn’t be better. And for those that love him, John C. McGinley has a brief energetic and funny role as a lawyer and friend of Dalton’s. There are no weak links in this cast anywhere at all.
Shakedown also has some first rate action sequences. Glickenhaus seems very proficient in this realm as he always finds a way to amp up the scene at some point beyond your expectations. He never settles for the standard chase scene. He adds something especially exciting on top of what already was a damn good sequence, and gives you that memorable punctuation. I was genuinely blown away at the intensity and impact of many of these scenes. They really deliver in full force on every bit of adrenalin and pay-off you’d expect from a solid action film. And I love that the film easily balances the action with the drama of the story. The struggle for justice in the courtroom is given as much poignancy as the crime on the street. They go hand-in-hand with this story, and it’s great to see that both sides are executed equally as well making for a very satisfying narrative.
As I mentioned, there’s more to the film than just action. With Roland, you can see that the relationship with his fiancée does have its turbulence, but doesn’t come off as something that’s falling apart. He starts out as a man on the verge of changing his life with a new career and a wedding on the horizon. However, the man that he is becomes anchored by Susan coming passionately back into his life both professional and intimately. It strikes a sentimental and deep chord with Roland, and I love where the film takes him by the end. It’s a very satisfying character arc, and it never feels clichéd or contrived. It’s smartly written with touches of levity, tenderness, and honesty. All of the dialogue in the film is smartly written highlighting personality throughout, and keeping things fresh, sharp, and entertaining.
Shakedown is also really damn well shot. I liked the use of wide angle lenses which highlighted either the excellent scenery of New York, or simply enhanced some big, dramatic action shots. The film has a slick, polished quality that still delves into the seedier areas of 42nd Street with the grindhouse theatre and a sleazy sex club. We get some nice uses of light and shadow mixed with neon colors that create a solid atmosphere. There is nothing here that is not shot superbly. I find it amazing what good filmmakers could do with $6 million back in the 80s. This film is high quality all the way with great authentic on-location shoots in New York, crane shots, steadicams, and just a big budget polish to everything while never losing an edginess or personality for the film. The editing is also excellent. Editor Paul Fried had a short career that ended the following year, and it’s a shame because I can’t levy a single critique against what he did here. It’s an exemplary editing job from start to finish. It’s tight and sharp hitting all the marks and beats dead-on-the-mark.
The music of Shakedown is also really good. It’s a solid action score using more of a rock driven style that really complements the energetic quality of the film. Jonathan Elias doesn’t have many notable credits to his name, but the fact that he worked alongside John Barry, the regular composer of the James Bond films through to The Living Daylights, is a big mark of quality in my eyes. If this film is any example, he learned quite a lot from Barry, and applied to with his own style that couldn’t have been better for this film. Add in a little Jimi Hendrix “Purple Haze” and a solid upbeat rock/pop tune to close out the film, and you’ve got something that is greatly appealing and fun. It’s a shame no soundtrack was ever released for Shakedown, and that aforementioned end credits song “Lookin’ For Love” by Nikki Ryder is really nowhere to be found.
As if I need to say it, I really, really liked this movie! It was a lot of fun, and it gave me entertaining, dimensional leads with a lot of fresh chemistry and charisma to offer. I cannot reiterate it strongly enough that Peter Weller is stellar in every second of screentime here. I loved the character and his performance. Meanwhile, Sam Elliott delivered beautifully on his end of things. Shakedown was decently successful on its theatrical release grossing $10 million from a $6 million budget, and I think it deserves exposure to a wider audience. I rented this off of iTunes, which has the film available for purchase or rental in high-definition widescreen. I was thoroughly satisfied with this movie, which was released in international markets as Blue Jean Cop, and this gets my full fledged recommendation. I will be glad to add this to my DVD collection, and I hope you will give this 112 minutes of your time. It’s an exciting, fun ride that has a lot to offer the action movie fan.
I have no preface for this review except to tell you that Walter Hill and Sylvester Stallone are a blockbuster combination that have delivered an excellent, hard-as-hell and graphic action film that you MUST SEE! Simply said, this has Walter Hill’s vintage style all over it, and I love it! If Bullet to the Head signals a turning of the genre back to its best roots of hard edged bad assery, I’m all for it!
After the seasoned criminal Jimmy Bobo (Sylvester Stallone) and his partner Louis Blanchard (Jon Seda) carry out a hired hit, they are targeted by a mercenary named Keegan (Jason Momoa) who kills Blanchard, but fails in his attempt against Jimmy. With the mark for the hit being a former corrupt Washington D.C. cop, it brings Detective Taylor Kwon (Sung Kang) to New Orleans to investigate who he was hooked up with, and why he was killed. However, Kwon soon finds himself lethally targeted, and joins forces with Jimmy in order to weed out and bring down whoever wants them both dead. The unlikely duo soon take on all who stand in their way, but where Kwon wants procedural justice, Jimmy is ready to exact brutal, unforgiving revenge.
I revisited both 48 HRS. movies within the last two months, and so, Walter Hill’s classic style is really fresh in my mind. I am a longtime fan of The Warriors, but Bullet to the Head certainly follows more in line with that sort of buddy cop dynamic. I could really feel that vibe coming off this movie right from the start, and it had me hooked in by the end of the opening credits. I was loving this movie within the first five minutes, and it never disappointed me. Aside from the modern technology aspects, this feels right at home with a solid 1980s hard-hitting action film, but Hill does throw in some modern style to update it a little. Bullet to the Head has a neo noir edge to it, but it doesn’t go down the Michael Mann route. This vibe is mainly due to large chunks of the film taking place at night, and we get some very appealing cinematography out of it. There are some shaky cam tropes used every so often, but it’s far from being the worst I’ve seen. There’s some restraint used to keep the action scenes really satisfying, and while I would’ve preferred more restraint or at least wider compositions, it did work quite well for this film.
Stallone is excellent through and through. He shows that he’s still got what it takes to be a top tier action hero. He is really in phenomenal shape showcasing a lean, ripped physique that presents a man that can clearly rip you to pieces. Sly gets plenty of chances to show his physicality with some really bone crunching hand-to-hand combat in addition to all the brutal, graphic gun violence. Yes, indeed, there are numerous people getting their own bullet to the head throughout the movie. Acting wise, Stallone’s solid. He really carries the dramatic weight of Jimmy well, much in part to his grizzled voice. The film’s not dripping with emotional grief or anything, but you definitely feel Jimmy’s dead set determination in finding the people responsible for his partner’s murder. The scenes Sly shares with Sarah Shahi, who portrays Jimmy’s tattoo artist daughter Lisa, are really well done. There’s definitely a rocky relationship there, but not one of heavy friction. They play well off of each other creating a mature and honest father-daughter relationship that has some weight and grit.
The humor in the film is really played out nicely between Stallone and Sung Kang. The trailers did do it justice as it seemed a little low grade, but in the context of the film, it really had me laughing quite a bit. I like how Kang’s Detective Kwon keeps poking fun at Jimmy’s age, and it’s handled in an almost bad ass way when Stallone retorts that still sells a laugh. It’s nicely written and smartly performed. Both actors really grasped the tone and chemistry the film was going for, and it kept the tone light and fun when needed in between the slam bang action scenes. That is a perfect example of a 48 HRS. Walter Hill style and balance of tone. The humor works with the hardened action tone of the film, and invests you in the characters in how they contrast and complement one another. It’s certainly something not every director can do, but Hill proves he still has that skill.
I will admit that Sung Kang himself start out a little weak in the film. He wasn’t really selling me for the first few scenes, but once he clicked into the chemistry opposite Stallone, he really fit in quite well. Detective Kwon is a very by-the-book type of cop. He’s using Jimmy only as a means to an end, and is quite set in his ways of adhering to the law all the way through. So, there’s this tough, seasoned hitman paired with a rather mild mannered police detective who wants to keep what they do on the straight and narrow. However, they regularly clash in stellar fashion creating both some of that humor, but also, a fine building of a relationship that keeps forcing them back together. Still, despite Kwon being very conservative with his violence, he regularly impresses by having the skills to take down an adversary quite efficiently either by hand or by gun. So, Stallone doesn’t get all the action glory. Sung Kang has his fair chances to show us something unexpected and satisfying in that vein. There might be some that feel he wasn’t the absolute best choice for this role, especially since Thomas Jane was originally cast in it, but I think he earns his merit before the end. Beyond anything else, Kung and Stallone work very smoothly together making this a very entertaining film.
Now, I was extremely impressed by Jason Momoa. His role of Keegan is a very stern faced killer, but one that is simply a massacring bad ass. As his employers say in the film, he enjoys the work he does. He takes pleasure in killing, and he gets a ton of chances to indulge himself. He never just walks in to kill one person. He’s there to kill everyone in sight, and Momoa delivers to us a genuinely sadistic villain that you’d love to hate. He may only be a hired gun, a mercenary, but he fits right into that perfect role of like James Remar from 48 HRS or Andrew Divoff from Another 48 HRS. He may not be the mastermind criminal, but he is the number one force to contend with and is the one that we really want to see taken down. Momoa is really awesome in this role, and he seemed to have loved playing it. He makes Keegan intimidating and heavily threatening, despite his impressive muscle bound size of 6’5”.
Christian Slater has a nice turn as the somewhat sleazy Marcus Baptiste, a rich lawyer who enjoys his women and narcotics quite a bit. He only has a few scenes, but Slater does sell the antagonistic character with plenty of zeal. Baptiste is working with the actual mastermind of Morel, an African gentleman portrayed with sophistication, arrogance, and amoral villainy by Adewale Akinnuoye-Agbajeas. It’s a very subdued performance, but one that works quite well for the character. Both actors gives us some firm antagonists with realistic motives that solidly fit the film and story.
And indeed, this is a hard R rated action movie with plenty of bloody gunshots and some explicit female nudity. It’s been a long time since I’ve seen an action film be so casual and open with showing nudity, and it was very much a pleasing sight to my eyes. Baptiste has a masquerade party where many of the masked women are wearing little else but those masks. It was very titillating, but it does not distract the film away from its plot. It doesn’t indulge in anything gratuitous beyond that. Conversely, this may not have as much graphic violence as Dredd, but it surely lives up to that standard I just recently discovered. Just like in Dredd, and again, living up to its title, people get shot in the head continually. The film even sets up the need for it early on when a guy doesn’t go down until he’s shot in the head. So, Jimmy Bobo is dead-on-the-mark, accepting nothing but point blank kill shots to the cranium. While some of the blood splatter is likely CGI, it at no point did it distract from the awesomeness of this movie. We get some big explosions in this that kick ass, and tell you that this movie is taking no prisoners. It’s going to deliver that hardcore bombast that has been missing in most action films these days, and it’s gonna to do like only Stallone and Hill can. What I really loved was when Jimmy and Keegan duel with those axes. That is not something I believe I’ve seen in an action film before, and it seriously made for one really intense and suspenseful fight. On wrong move, and you could be missing a body part. It was a tremendously climactic and amazing action scene that amped up the level of tension and brutality that I wasn’t expecting. From the trailers, I knew it was going to happen, but I didn’t expect it to be that damn good of a scene. It was fuckin’ great!
I also really loved the score by Steve Mazzaro. It’s very bluesy with some hard electric guitar and prominent and beautiful use of harmonica, giving this a real seasoned and down to Earth feel. It sets a real down south vibe for this New Orleans set film that really just works amazingly well. However, most of the action scenes are very minimal on music. At most, you get a little underscore for a low end vibe, but mostly, you’re hearing the sound effects of guns firing, fists crunching bone, bodies slamming into hard surfaces, and axes clanging together. I think that worked excellently with this very hard edged action as there is a lot of impact with those sound effects. They really enhance the brutality of the movie, and I couldn’t have asked for anything better.
Seeing both this and Dredd within the same month really energizes me into believing that hardcore R rated action movies are making a genuine, high quality comeback. Talented filmmakers, both old and new, are delivering to us some really amazing movies lately that are giving the action genre that hard hitting adrenalin shot it needed. Stallone is in top form and clearly enjoying himself in this movie, and he was in masterful hands with Walter Hill as the director. I had a HELL of a great time watching this in the theatre, and if a friend of mine was going to see it later, I’d tag along for a second viewing. Bullet to the Head is a fun, exciting, ass kicking 90 minute thrill ride that is worth taking more than once. It keeps itself simple by not trying to complicate the plot with any big twisting narrative. It’s very straight forward and right to the point. This is one awesome movie that satisfied me from the very beginning to the very end. And this is literally a movie that starts with a bang! I give Bullet to the Head a definite SLAM BANG recommendation! This year now has a lot to live up to in terms of action movies for me, and I damn well hope it delivers. So, 2013 – you have been put on notice!
My summer movie season last year mostly sucked, and by the end of August, I just didn’t want to step foot inside another theatre for a long while. That was unfortunate for when Dredd was released in late September. I couldn’t get enthused for anything despite all the rave reviews this film got. Fortunately, I don’t seem to be alone in discovering this on the home video format as its sales and rentals have been on fire in the last two weeks. Thus, in the frigid icy winter weather, I dashed over to the Redbox outside of the CVS Pharmacy and rented it. So, what’s the simplest statement I can give to this film? It’s that I have no criticisms to levy against it. Dredd is AWESOME!
The future America is an irradiated waste land. On its East Coast, running from Boston to Washington DC, lies Mega City One – a vast, violent metropolis where criminals rule the chaotic streets. The only force of order lies with the urban cops called “Judges” who possess the combined powers of judge, jury and instant executioner. Known and feared throughout the city, Dredd (Karl Urban) is the ultimate Judge, challenged with ridding the city of its latest scourge – a dangerous drug epidemic that has users of “Slo-Mo” experiencing reality at a fraction of its normal speed. During a routine day on the job, Dredd is assigned to train and evaluate Cassandra Anderson (Olivia Thirlby), a rookie with powerful psychic abilities thanks to a genetic mutation. A heinous crime calls them to a neighborhood where fellow Judges rarely dare to venture – a 200 storey vertical slum controlled by prostitute turned drug lord Ma-Ma (Lena Headey) and her ruthless clan. When they capture one of the clan’s inner circle, Ma-Ma overtakes the compound’s control center and wages a dirty, vicious war against the Judges that proves she will stop at nothing to protect her empire. With the body count climbing and no way out, Dredd and Anderson must confront the odds and engage in the relentless battle for their survival.
Dredd is just full-on hard R-rated action that is brutal and relentless. Yet, it is not dumb by any means. Alex Garland wrote a very smart screenplay that keeps things rather simple, but has its own dramatic depth and character strengths. We don’t get long sit-downs with the characters to pine over their emotions and back stories. Instead, we get insights into them in solid, succinct moments that work towards the momentum of the film. Dredd himself remains hardened throughout never allowing anything to crack his weathered, tough exterior. However, the depth we get from him is in what he does, not so much what he exudes. He is a strict enforcer and abider of the law. He follows it to the letter, and doesn’t just kill someone because this is a graphic action film. His intentions are clearly stated making us aware of who is suited to be executed and who isn’t, and Dredd’s threats carry grave weight. He’s also calm, collected, and confident. He never lashes out. He’s calculated in everything he does. This guy is a bonafide bad ass who has been very weathered by this post-apocalyptic world that needs order more than anything else, and he’s deadest dedicated to that ideal. The situation that he’s in here, it’s just like every other day to him. For instance, when told to put Anderson in the deep end of the job, he says, “It’s all deep end.” This guy’s been through the worst this world has to offer, and he’s not afraid of any level of danger.
Karl Urban was a perfect fit for Judge Dredd. I’ve enjoyed him in every role I’ve seen him in from The Lord of the Rings to The Chronicles of Riddick to The Bourne Supremacy. He always seems to dedicate himself fully to all his roles, and he has some impressive talent that will carry him far. It also takes a special actor, dedicated to the character, to have his face almost entirely covered for the entire film. Dredd never removes his helmet, and we never see his face. Just that mouth and chin area is all we get, and some actors simply wouldn’t allow their face to never be seen on camera either by ego or principle. Urban doesn’t have that problem, and that quality of Dredd works to his advantage. It’s reflective of his attitude. He’s not the type to open up about himself, or allow any glimmer of weakness to show through. That aggressive visage of that helmet and visor create his ill-tempered demeanor, and Urban entirely absorbs himself into that mindset. Putting on that harder, gruffer voice mixed with a little bit of beard stubble and his grim expression creates a great heavy, gritty presence. He gives us the kind of bad ass, hardened character that I’ve not seen in a long time. It follows in the tradition of Snake Plissken and the Punisher, but it is that vehement dedication to law and justice which separates him from those sorts of anti-heroes. Urban sells this role with everything he’s got, and delivers on every level. This is a role that could easily become cliché in the wrong hands, but with Urban, Dredd is a serious force to be reckoned with that never fails to be interesting.
The character of Anderson is really handled greatly. She’s a fine counterpoint to Dredd in that she does have anxieties, apprehensions, and an emotional core to struggle with throughout the film. Carrying out an execution is not easy for her, but she does her job, regardless. The little details about her past are dropped in very comfortably, and work into the story seamlessly. Her psychic abilities make for an excellent cog in the plot, and even makes for some appropriately humorous moments. I think the best action films know how to drop in a little bit of humor and levity without it betraying the tone of the overall film. Dredd is no exception. Her psychic abilities even give us one very whacked out sequence where she goes into the head of Kay. It’s sexy, graphic, and frenetic in the most schizophrenic way. The beautiful Olivia Thirlby is truly excellent as Judge Anderson. She inhabits that very green rookie sensibility without falling onto clichés. There’s a genuine weight to what she brings to this role showing that Anderson is highly capable, but does not yet have the experience to hone her skills and emotions properly. Anderson has an excellent arc that has some fine pay-off in the end from Dredd himself. It’s a big learning experience for her that really fleshes the character out. She doesn’t get lost in Dredd’s shadow at all, and I think the filmmakers did an excellent job at that.
Also, Lena Headey portrays one deranged, depraved villain. She’s not “off the walls” crazy as the performance is rather subdued, but Ma-Ma does some crazy random violence that would require an R rating just to mention it. She’s a total sociopath, and really enjoys her torture to a grisly degree. She isn’t just going to kill you. That’s not enough. She’s going to send a message with your body, and make it loud and clear with a giant splat on the concrete! She’s sick and twisted complete with a scarred face, and it’s a glorious villain for a gloriously graphic action movie! The rest of the cast is rock solid with no one giving anything less than a top notch, full force performance.
The cinematography on this movie is really amazing. What stands out the most is the design of the “Slo-Mo” sequences. The high speed photography makes everything appear to be running in ultra slow motion, creating a gorgeous spectacle, aided by some CGI enhancements, that is simply stunning. It makes for a very enveloping experience along with the very aural, ethereal score to mimic the sensation this narcotic stimulates in its users. Conversely, everything beyond that is very gritty and textured. The sprawling landscape of Mega City One is very epic, and a desaturated color palette is used to set the grim tone right from the start. Dredd avoids making this some Blade Runner clone, and adopts its own realistic style for this industrialized and economically crumbling metropolis. The cinematography gives this film weight, scope, and depth that elevates its above your expectations. The action is all shot superbly showing full competence in how to stage and photograph even the most blisteringly intense sequences. Anthony Dod Mantle deserves an exceptional level of credit for the work he did shooting this picture, and giving such a solid and powerful visual style.
The action itself is bloody and brutal with people regularly getting shot in the face! If Dredd’s going to pass a sentence of death upon you, he’s going to wipe you out in the most explicit way possible. Maybe he’ll burn your skull from the inside out, set you ablaze, or maybe he’ll just pound some bullets into you. He does not hesitate, and he never wavers in his job. And of course, the villains dish out their own heavy duty warfare as well. Their biggest attempt at taking out Dredd and Anderson is when they unleash not one but two hardcore Gatling guns that rip through concrete destroying an entire level of the complex. It’s wicked awesome! There are numerous diverse sequences here that keep the action always interesting and immensely intense, and they are all handled superbly. One of the coolest sequences is when Dredd and Anderson bust in on some guys who are doing Slo-Mo, and thus, nearly all the action unfolds in that ultra slow motion style. Bullets rip through flesh in the most stunning way possible to where it’s practically gruesome artistry. I am just amazed at the depth of vision injected into this movie with sequences like that.
Dredd features an excellent, hard edged score by Paul Leonard-Morgan. He makes excellent use of driving, pulsating synth beats and some stellar distorted rock guitar. This is essentially a heavy metal synth score that actually works insanely well because of the hard hitting, gritty style of the movie, but also, it never bombards you. It flows along with the action and momentum of the film. The synthesizers really give the film more of an ominous, foreboding, relentless tone that build up the tension and anticipation while the guitars are there to kick ass. It’s almost 1980s like in its musicianship, and it’s always able to bring itself down to a more subtle place, when appropriate. Overall, this is one masterful, edgy, exhilarating action film score that entirely suits the futuristic, post-apocalyptic grit of Dredd.
What I think is most amazing about this movie is that it had only a $45 million budget, but looks like a far higher grade feature than those numbers would suggest. This demonstrates a team of filmmakers who knew about to get the most out of every dollar, and not waste their resources. There is not a single thing that looks cheap anywhere in this film. The sets, costumes, action set pieces, and visual effects are all high caliber quality showcasing amazing craftsmanship and artistry. And for those who care, this was shot in digital 3D, and from what I hear, Dredd looks fantastic in 3D. That is no surprise considering how stunning it looks in 2D. Everyone who worked on this film clearly put everything ounce of effort and passion they had into it, and I believe it exceeded all expectations. Still, I also like that the film doesn’t try to over stretch itself by becoming more than it needed to be. The film is ultimately quite ambitious, but the filmmakers didn’t push the proverbial envelope any further than they needed to with this story. All of the elements are smart and fit together beautifully. There’s a lot of subtle context and ideas within the film between the characters and ideas of justice, but all of it works towards the action centric plot. It’s very focused without being narrow, but never becomes broad.
Flat out, Dredd is an ass kicking, hard hitting bombastic action film that never hesitates to go all out, but never degrades itself with camp value or cheesy set pieces. It’s totally hardcore all the way, and should satisfy the hunger for any true action movie fan that’s desired a return to classic hard R rated films. I’m very impressed by Karl Urban’s performance, and if this were to become a franchise, I believe he could carry it to very exciting, riveting, and intriguing places. Director Pete Travis doesn’t really have much of a track record to speak of, but I hope that Dredd is the beginning of a very successful and notable one for him. This is really a visually magnificent film that brings all of its dynamic elements together into an intense cohesive whole. He has shown me something awesome and amazing with Dredd, and he’s not the only one to credit for it all. A whole team of excellently talent filmmakers came together to really nail this adaptation of the British comic strip. It is creatively successful without a blemish, in my view, and I hope that time will prove Dredd to be commercially successful as well.
This is one of those films I did not see in theatres. It was a DVD rental discovery that I have been very pleased to have discovered. The cast is really what drew me to Street Kings – Hugh Laurie, Forest Whitaker, and what might seem like a swerve in Keanu Reeves. I am very much a Keanu fan from Bill & Ted to Point Break to Constantine and beyond. Yeah, I get why people takes jabs at him, but I’ve always enjoyed his work. Here, he turns in a very strong performance holding his own opposite some heavyweight acting talents. This is a very well conceived and executed film from David Ayer that I feel is exceptionally worthy of your time and attention.
Keanu Reeves stars as Tom Ludlow, a veteran LAPD Vice Detective who has struggled to navigate through life after the death of his wife. He’s a cop who chooses to cutout procedure on the street taking violent action against known criminals to close a case. He is well protected by his Captain Jack Wander (Forest Whittaker) every step of the way. However, when evidence implicates Tom in the execution of his former partner turned Internal Affairs informant (Terry Crews), he is forced to go up against the cop culture he’s been a part of his entire career, ultimately leading him to question the loyalties of everyone around him. He is regularly confronted by Internal Affairs Captain Biggs (Hugh Laurie) who probes for the truth, but Ludlow views him as an enemy to be combated. However, as he partners with the untainted Detective Paul Diskant (Chris Evans) to weed through this shady, twisted maze towards his own answers, Ludlow comes to realize just how crooked this world is, and who his real enemies are.
I am a definite crime genre lover spawned from numerous Michael Mann films, and I also enjoy a solid cop drama. This brings it all to the table in a very grounded, emotional, but also entertaining package. It’s very smartly written to keep an audience on its toes as the secrets slowly rise to the surface. Bits of action are peppered throughout to keep the energy flowing in support of the plot. Ludlow goes on a shady journey trying to find out exactly where he stands in this crooked world of corruption and deception. This tangled tapestry unfolds to reveal a wealth of dangerous, twisted people with dark agendas.
Keanu really does kick it up to a higher level as Tom Ludlow. The character can be crass in certain moments, but also, show compassion when it matters most to him. There are some fine dynamics to the character that Keanu balances out with ease. There’s the ass kicking cop that throws down shots of vodka after wasting some criminals. There’s the contemptuous man trying to shake loose the truth that everyone seems very quick to sweep under the rug. There is also the slightly humorous side of Ludlow with a couple quips here and there which add to the crass attitude. He’s been protected through everything, and thus, has developed an attitude where he doesn’t take anything from anyone. He has an ego and a self-serving nature, but is able to direct it to his advantage on these unforgiving, violent streets. Everything he does, he believes is for the best, even if it’s crooked, but he grows and changes when confronted with just how crooked and screwed up everything has become. He’s the kind of character who is hardened by his fractured life and his harsh job, but when it comes down to it, he has a strong sense of humanity that he reserves for those who deserve it. Those who don’t get the ill end of his personality which is full of contempt and the will to act it out. Keanu Reeves handles this satisfyingly textured character with a lot of passion and charisma. He is an excellent lead for this film.
Of course, Forest Whitaker is amazing! The man has such a wealth of charisma and passion that it bleeds through in every scene. He inhabits Captain Jack Wander with a strong ego and bravado that none can contend with or deflate. He has pride in his men, but also conviction and authority over them. He’s very much a king high atop his throne where he has garnered respect and fear from those around him. He never comes off as a straight arrow, but supposedly does what he does because Ludlow is his creation. He covers up and cleans up whatever he needs to so that his star cop can keep burning down the street trash. Whitaker makes Wander an increasingly despicable person, but not one you can take your eyes off of. He has a larger than life presence that commands a scene, and that’s what the character needed. A man of power and guile that has the audacity to take on anyone that challenges him or his men. A man with his own dirty secrets that holds all the cards to play people however he wants. It is a brilliant performance that motivates his co-stars to push themselves further and harder.
Meanwhile, on a more reduced role, Hugh Laurie delivers an intelligent, subtle performance as Captain James Biggs of Internal Affairs. He carefully probes Ludlow throughout the film just giving him a little nudge here and there. As Laurie has proven in his many years portraying Dr. Gregory House, he can hold a scene smartly opposite anyone. It’s only one scene, but Forest Whitaker gives him a challenge to contend with. Laurie, as Biggs, stands his ground well. However, the rest of his scenes are opposite Keanu, and they both play them with an electric dynamic. They both portray strong characters offering up conflict fueled by Ludlow’s misconceptions. He doesn’t know what Biggs is really after, and Biggs doesn’t show his cards. He just let’s things play out with a little encouragement to make sure Ludlow takes the right critical steps.
The film is shot with some sharp style and edge. The cinematography continually maintains the energy of the narrative, and providing numerous inspired camera moves to punctuate certain dramatic beats. Thankfully, the style and edge never compromise the story being told, it merely services and enhances it. Everything in this film is conceived and executed properly. Every role is cast with a lot of thought and detail. Strong actors are implanted throughout the movie from the leads to the supporting roles.
Chris Evans adds an extra, different dynamic as the slightly green Detective Diskant. A cop interested in doing the right thing, and willing to push past his experience and limits to do so. He might not have as much streetwise mileage as Ludlow, but has the conviction to maintain his sense of justice. Evans strikes the right balance with him offering up enough inexperienced uncertainty mixed with confidence through trust. Evans & Reeves have a fine chemistry that is born out of the characters’ contrasts, as with most great pairings. That helps to maintain a lighter mood between them, and gives the film its balance of humorous moments. I feel Diskant is definitely a conduit for the audience to better connect with the story. Ludlow is clearly the lead, but Diskant is a little more relatable and helps to give Ludlow someone to connect with on the journey. Someone he can trust, and through Diskant, you can come to relate more with Ludlow.
What I really like about this film is how smart it is written. No character is conceived without a motivation for their actions, and nothing is dumbed down for the convenience of the plot. Everything fits together amazingly well. Screenwriters James Ellroy, Kurt Wimmer, & Jamie Moss delivered something very satisfying on multiple levels, and director David Ayer realized that with great balance and competence. The entire plot is well constructed, and gradually develops on-screen in a very coherent and intelligent manner. All the characters are written and played with a lot of personality and realistic depth. They all work well opposite one another to create a very diverse and interesting landscape for this crooked world. I literally have nothing negative at all to say about this film. To me, it should be considered a classic in the genre. I love the energy and momentum throughout the story to keep you hooked into where it is leading Tom Ludlow. That doesn’t mean there’s action all the time, just that the plot continues to develop adding new elements that drive the characters forward. Everything that develops motivates people and events towards more dangerous consequences until Ludlow is faced with the truth, but it’s not without it’s costs.
With Street Kings, there’s plenty of violent action, emotionally charged drama, serious danger, and fine dashes of humor to make it a very powerful, entertaining ride that’s worth taking. This is one of my favorite films of the last few years, and I give it my full, wholehearted recommendation! There is no fat in this film, just lean, strong talent that punctuates the story and characters.