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.
The year of 1995 is my favorite year in film giving us so many beloved favorites of mine such as Lord of Illusions, The Usual Suspects, Seven, In The Mouth of Madness, GoldenEye, The Prophecy, Strange Days, and more. This year also gave us a brilliant union of powerhouse talents when Michael Mann brought together screen legends Al Pacino and Robert De Niro in Heat. While I consider Manhunter my favorite, and The Insider to be Mann’s best film, I cannot deny that Heat is a crime saga masterpiece. It is finally Michael Mann refined and matured to a breath-taking level developing his signature concepts to perfection. I can think of no more appropriate film to hold the honor of the 200th review on Forever Cinematic than Heat.
Neil McCauley (Robert De Niro) is a master thief who lives by the simple discipline of “have nothing in your life you are not willing to walk out on in 30 seconds flat if you feel the “heat” around the corner.” His crew of career criminals is a high-tech outfit pulling off professional jobs that impress even the likes of Detective Vincent Hanna (Al Pacino). But Hanna, a man driven through life only by his work, becomes obsessed, at the expense of his private life, with bringing McCauley down. As McCauley’s crew prepare for the score of a lifetime, and Hanna’s team tries to bring him in, the two find that they are similar in many ways, including their troubled personal lives. Ultimately, they find themselves challenged by the greatest minds on the opposite side of the law that either one has ever encountered. With this much heat, the streets of Los Angeles are ready to sizzle and explode!
Heat is filled with excellent performances from everyone involved that it’s hard not to touch upon most of them. Firstly, I am engrossed by the dynamic between Vincent Hanna and Neil McCauley. Hanna is a man whose life is wholly dedicated to his job, and thus, his home life is a disaster with multiple divorces to show for it. Meanwhile, McCauley has his life in control as he takes precision high line scores, but lives a disparate life of bare necessities allowing himself no attachments he cannot walk out on in thirty seconds flat if circumstances require it. Thus, despite these men being on opposite sides of the law, they find themselves in a near symbiotic relationship which fuels the compulsions of their lives. They are both driven by their jobs being out there on the streets in the middle of danger, and everything else in their lives is sacrificed for that. All they are is what they’re going after. That’s what fuels their existences, and Heat is all about that electrifying synergy.
Al Pacino has always been known as a passionate, charismatic actor, and Vincent Hanna surely has that energetic, sharp edge which makes him immensely entertaining here. However, it is the more subtle aspects of the performance that are where the real juice is. You see the razor sharp mind of Hanna when he arrives on the armored car robbery scene. He sees it, absorbs it, and hits all the marks deconstructing every detail of the crime. He doesn’t miss a beat, doesn’t overlook or dismiss anything. You see the proficiency of Neil McCauley and how his crew operates, and then, you see Hanna and his team operate on that same exact level only on the opposite side of that coin. Yet, the depth of Hanna comes to the surface when Vincent converses with his wife, Justine. The weariness and ugliness of his job forces an emotional rift between them, and Pacino’s performance reflects the inner angst and emotional toll that it wreaks on Hanna. These things do affect him, but he never becomes a jaded, pessimistic, desensitized person. Al Pacino absorbs all of that into a subtle and complex performance that energizes the screen.
And delivering a performance on an equal level of weight and intelligence is Robert De Niro. He’s entirely formidable making Neil McCauley a very serious and definitive threat to everyone who opposes him. De Niro has a serious, hard edged presence that dominates the screen, and every move, every word, every course of action he makes is efficient. There’s a full immersion into the character in all his nuances and textures. Sometimes, a great performance is seen in raw emotion, but other times, it’s all in the subtle complexities. That is what De Niro give us here showing the versatile diversity of this character from cold, hard criminal to the loyal, caring friend and lover. Despite being the antagonist in the story, we see a real heart when Neil becomes involved with Eady. It’s takes a masterful actor and filmmaker to take a character like McCauley who will sanction and be entirely sociopathic about the murder of innocent people, and do something so human with him to where you genuinely feel his depth of heart. Surely, that’s nothing you would want translated into reality, but in a fictional narrative, it provides a captivating dimensionality that Robert De Niro captures with pitch perfect substance.
Val Kilmer was really in his peak at this time after his stunning turn as Doc Holliday in Tombstone. Thus, he was filming Heat concurrently with Batman Forever, really capitalizing on two excellent opportunities. Here, his role might be overlooked by the presence of Pacino and De Niro, but that doesn’t mean he isn’t top notch. Chris Shiherlis proves to be a really intense character with his gambling addiction and marital strives, and Kilmer really absorbs the weary heart of Chris deeply into his performance. Despite infidelities on the part of Chris and his wife Charlene, portrayed tremendously by Ashley Judd, their final shared moment strikes deep within the heart to show just how much they both truly loved one another, but their marriage was never built to last. Kilmer hits all the marks to make this character standout solidly alongside De Niro, and to a lesser extent, Tom Sizemore does the same as the more action junkie sociopath Michael Cheritto. There’s a real strong brotherhood between Neil and Chris that shows through shiningly, and that relationship brings a lot of dimension to both characters.
I’m fascinated by the chain reaction of events here which create numerous exciting plot turns. Essentially, Waingro is the key cog who sets everything in motion. Without him going off the handle and facilitating the triple homicide, Vincent Hanna likely would not have been as dogged to track down McCauley and his crew. He’d be intrigued by the precision professionals, but it would just be another robbery. Then, Waingro betrays McCauley to his enemies, forcing the bank heist to turn into a violent, deadly shootout and propelling McCauley to make the irrational decision to go after him instead of escaping free and clear. Waingro turns the tide of the story at pivotal moments because he is a wild card with no loyalty to anyone but his own base, primal impulses. Furthermore, Kevin Gage is perfect in this role making for a wholly convincing hardened ex-convict sociopath who is dreadfully frightening and intimidating. It’s sadly poetic that less than a decade later he would become a federal convict for cultivating medicinal marijuana.
The other intriguing quality of Heat are the women. Michael Mann always makes the affectionate, strong women of his films vitally important to the arcs and stories of the male leads, and never objectifies them. The significant others of Hanna, McCauley, and Shiherlis are all passionate, loving women who desire a stable life. Justine Hanna grapples with Vincent’s internalized angst from the horrors he sees out on those streets, and just wants a husband who opens up to her instead of being distant, closed off, and vacant in their marriage. She wants a marriage with love not ragged leftovers of a man who drifts through their lives empty. Eady, portrayed by Amy Brenneman, is the most innocent of them all existing entirely outside the world of cops and criminals. She’s a simple, honest, warm person that unexpectedly opens up Neil’s world and gives him something to be affectionate about. For a man who lives with no attachments of any kind, it’s finally someone in his life that makes him care to have a life. Charlene, however, is the real gold for me as Ashley Judd is confident, heartbreaking and truly empathic as Chris’ wife. As I said, there is a deep down, genuine love between Chris and Charlene, but there’s so much addictive and combative garbage in the way that it was destined to crumble. For me, the Shiherlis dynamic is the most complex and substantive one of the film because of that real quality of conflict and adoration between them.
Without a doubt, Danté Spinotti is a remarkable cinematographer, and he does an excellent, stunning job with Heat. He composes so many carefully selected shots which tell a very visual story that holds weight. Just as Mann had fully refined and developed his artistic sensibilities so had Spinotti making this a very sophisticated looking and composed picture. There are pure moments of inspired artistry creating a masterful canvas that this story is told upon. This is also a film that feels very engrained and engrossed in the fiber of Los Angeles because of the visual vibe. Shots of the skyline in hazy daylight or glowing nighttime neo noir create that great backdrop that has substance and life.
Upon this watch of the movie, I picked up far more on Elliott Goldenthal’s amazingly original and pulsating score. A lot of what he does are subtle textures and melodies that nicely underscore various scenes. His score doesn’t fight for dominance in the audio mix. It complements everything that Mann is doing with the emotion, characters, and story. At times, Goldenthal’s score can be very powerful and striking such as the moment where Chris and Charlene are forced to abandon each other because of the police stakeout. The emotional pain swells into the score in a haunting swirl. Then, there’s the parting phone call between Neil and Nate that reflects the sorrowful feeling of two people, best of friends, saying goodbye for the final time, and Goldenthal’s score hits that mark so beautifully. Every single moment is so perfectly punctuated, and should be considered amongst his best work. Additionally, the two tracks by Moby are beautiful, superb, innovative tracks that saturate the power of their respective scenes, most notably being the ending with “God Moving Over The Face of The Waters.”
Of course, the big, electrifying selling point of this film was having two of America’s most celebrated actors, Al Pacino and Robert De Niro, collide in all their glory. That would not be complete without the excellent diner scene where Vincent Hanna and Neil McCauley have a very probing conversation. The very interesting quality of that scene is that this is the only point in time where these two men are able to be entirely open, honest, and reveal their inner workings. They are more intimately connected with each other than with anyone else in their lives. Again, the subtle performances of depth and honesty make this the absolute nexus of this entire film. Heat was previously made as a TV movie called L.A. Takedown by Michael Mann, and when you watch this scene performed by very second rate, stiff or hollow actors with almost identical dialogue, you realize the gold standard quality of Pacino and De Niro. In their hands, Vincent Hanna and Neil McCauley are brilliantly fleshed out and fascinating characters, and this is the scene that shows them stripped down. They show what haunts them and what drives them. There is no pretense between these men, and they realize that they are very similar despite being the flip side of each other. These are the only two people alike in this world of Michael Mann’s film that truly, undeniably understand one another. Furthermore, this scene is entirely integral to how the film’s climax unfolds.
Firstly, that shootout in the streets of downtown Los Angeles is one of the most ear-blistering sonic experiences ever, and that’s coming from a heavy metal fan. Michael Mann had considered using post-production sound effects for this, but realized that the realistic production audio created the true power and impact he wanted. It conveys the violent magnitude of real life gunfire and enhanced the danger of this sequence exponentially. The precision of every tactic is true to how Michael Mann approached his films. He made sure that every detail was accurate to life, and that mentality makes his films far more interesting to witness than the more over-the-top action sequences we get in the big, fun blockbusters.
The climax of Heat narrows everything down to what the whole film has been about at its core – Vincent Hanna and Neil McCauley. These two men, who exist in a world separated from the mainstream of society and defined by its own rules, are now pitted against one another in an electrifying, tense, and suspenseful cat and mouse sequence that is absolutely pitch perfect, and showcases the unequivocal skill of Michael Mann. The moment where McCauley sees Hanna just as he is to ride off with Eady is beautiful, painful, and eloquent. Neil invokes his “thirty seconds flat” rule turning away from Eady for his own survival, and the ensuing chase towards LAX is wonderfully and smartly plotted. The climactic moment is excellent and poetic. Then, after it’s all over, these two men are bonded together in a strikingly profound moment that ends the film on an astonishing stroke of pure brilliance.
I had always taken Heat for granted as that great crime saga pinnacle for Michael Mann, but until now, I never peered deeply enough into it to see the subtle brilliance of it. Many of his films are easier to see the inspired breadth and depth, but Heat has so many fine brush strokes of detail, interwoven threads, and subtext that only a real immersion into it made me absorb it all. This is truly a brilliantly written, directed, and acted film that did not get the recognition it deserved during awards season. Michael Mann himself received no nominations for his screenplay or directing, and Pacino, De Niro, or Kilmer received no acting award nominations either. It’s amazing to me that so many incredible, mold breaking, and standard setting films were released this year, and those I hold in highest regard barely got any recognition from any major awards organizations. This is why I find it hard to put much weight into these organizations because they’d rather nominate a movie about a talking animatronic pig over brilliant masterpieces like Heat, Strange Days, The Usual Suspects, or Seven for Best Picture or Best Director. Today, nobody talks about Babe, but people still endlessly praise those others films because they launched careers, took stunning risks, set new standards, and blew peoples’ minds. And when Michael Mann finally got his just nominations, he didn’t win a single one for what no one will ever be able to tell me wasn’t the best movie released in the year 1999 – The Insider. However, for the next review, I go back to the beginning of Michael Mann’s feature film career with Thief.
Every so often a movie comes around that just looks interesting, but you are not prepared for just how stunning it truly is. It just seems like another good thriller that might be nicely satisfying, but this movie is far and beyond such meager expectations. Prisoners attracted me because I really love Hugh Jackman. He has such a genuine depth of humanity and intense screen presence in so much of what he does, but even then, I didn’t expect a performance and a film on this level of masterful brilliance.
How far would you go to protect your family? Keller Dover (Hugh Jackman) is facing every parent’s worst nightmare. His six-year-old daughter, Anna, is missing, together with her young friend, Joy, and as minutes turn to hours, panic sets in. The only lead is a dilapidated RV that had earlier been parked on their street. Heading the investigation, Detective Loki (Jake Gyllenhaal) arrests its driver, Alex Jones (Paul Dano), but a lack of evidence forces his release. As the police pursue multiple leads and pressure mounts, knowing his child’s life is at stake the frantic Dover decides he has no choice but to take matters into his own hands. But just how far will this desperate father go to protect his family?
Brought to us by director Denis Villeneuve, Prisoners is undoubtedly the best film I have seen all year. A tight, taut, suspenseful and engrossing thriller that hits powerful emotional chords everywhere. If you thought the trailers gave too much away, you are very mistaken. There is so much more substance and plot nuances that a trailer could never accurately convey. Surely, I will not spoil anything for you, but the mystery of this film is cunningly devised with intelligent turns and a remarkable progression. There are many fine layers of character, emotion, and story here that interweave perfectly and beautifully. We are treated to so many well fleshed out characters inhabiting a story of very intense emotions and radical, unsettling violent actions with nerve racking consequences. You feel every ounce of emotion from these characters, and Villeneuve’s direction shines gloriously in every detail. I also love that nothing in this film is a red herring. Every lead, every piece of evidence, every detail adds to the puzzle which is brilliantly plotted out from a stunningly well written screenplay by Aaron Guzikowski. Prisoners is meticulously mapped out every step of the way, and Villeneuve utilizes all of that emotion and strategic, deliberate pacing to absorb you into the movie.
The cinematographer for this film was Roger Deakins, who also shot Skyfall which was immaculate work, and he does not falter here at all. I was constantly struck by the quality of the compositions as they all hold so much weight. Villeneuve has this shot and edited in a very conservative manner so that the substance of every frame soaks into the viewer so deeply. Early on, I love how fairly brief scenes are played out in wide masters to give you a dramatic and stoic impact on the story. The inspired cinematography constantly envelopes the screen translating the dramatic power of Villeneuve’s cinematic narrative in such exquisite detail and poignancy. The quality of the visuals, how the film is shot, and the style of editing constantly made me feel like this was a very 1970’s thriller with a modern polish. Even the Earth toned color palette reflects that, and the autumn / winter setting adds to the grim, somber atmosphere. Every technical quality of this movie is used to suck you into the depth of what transpires. Even the score is immensely effective, yet subtle. Everything just works with such precision to excellent effect.
I honestly believe that Hugh Jackman could possibly earn himself some accolades come awards season time. My faith in his talent has been paid off time and again, and I love seeing him in these gritty, hard hitting dramatic films. Keller Dover is a man who believes in preparing for the worst while praying for the best, and so, he is used to doing everything possible to protect his family from all dangers. When he feels he must take matters into his own hands, the emotional intensity of the film escalates drastically. Jackman is intensely powerful in this role pushing himself to that extra level that separates great from extraordinary. Pure, raw emotion pours out of him as Keller Dover struggles with doing the right thing for his daughter even though it is the worst, most unimaginable thing he’s ever done. The absolute conviction of what he believes he must do penetrates right through the screen right into your soul. This film constantly pushes this character into further emotionally and morally strained situations that challenge Jackman to deliver on higher and higher levels which he exceeds over and over again. This is why I love Hugh Jackman and why I was drawn to seeing this movie. He’s an incredibly relatable and engaging acting talent who pulls you in based on his depth of humanity, and that is gorgeously on display here in a masterfully crafted film.
Now, I haven’t seen Jake Gyllenhaal in anything since Donnie Darko, and it’s great seeing him in a mature, hard edge role. He is really solid as this vehemently dedicated cop who maintains a level head while remaining fully committed to this case. I love seeing how Detective Loki handles the strained, heated emotions of the Dovers and Birches, and how he manages everything with meticulous perceptiveness and a dogged mentality. It’s a wonderfully written character that empathizes with these hurting people and conveys his confidence with sincerity. Gyllenhaal is intensely compelling and intriguing to watch as the film progresses. From the moment he’s introduced, eating alone at a Chinese restaurant on Thanksgiving, he is complex and unique. I like the nuances added into his character such as the various small tattoos on his hands and neck. They give him a darker, grittier edge along with Gyllenhaal’s sort of dark aura. Yet, he is not a dark character, but is a riveting one that adds his own intensity to the narrative. This is also a marvelous performance that only becomes more fascinating and gripping at the film progresses.
The rest of the cast is equally as powerful. Mario Bello’s character of Grace Dover deals with this frightening tragedy of her abducted daughter by falling apart, relying on medication, and just becoming a mess. It’s a pure visceral deterioration of a person torn apart by fear and pain for a loved one. Terrence Howard is another actor I just love, and he delivers such vulnerability. The struggle Franklin Birch faces when Keller pulls him into the abduction and torture of Alex Jones is a perfectly human conflict. He wants his daughter back so badly, but almost can’t reconcile the morality of what he and Keller are doing to this man with the IQ of a ten year old. The dynamics between all of these characters and their passionate, pained emotions is magnificent to behold. Even Paul Dano makes you empathize so deeply for Alex. You are never certain whether he is responsible for anything at all, or that Keller is torturing a completely innocent man. The story twists around so beautifully wrapping everyone up in this complex tapestry that any truth is possible. Even more so, nothing is all that clean cut for any suspect, and no one is completely innocent. Everyone has something shameful, shady, or tragic which shows that these are real, textured, flawed people. Every character is written and performed with such substance and rawness that you can never take anything for granted or predict where this story will lead you.
I was constantly pleased with the sophistication of storytelling here. There were times I was a tad apprehensive that the pay-off of the mystery, or that the identity of the abductor would be spoiled too soon. Instead, it was another element of the puzzle being laid out carefully with surprising, unexpected, yet entirely purposeful turns. As I said, nothing is a swerve. You’re not lead down a frivolous path to a false lead. Everything introduced in this story is there for a substantial reason. The ultimate reveal is great allowing for everything to really fall into place, and put certain characters into further, tenser jeopardy. I loved how the final act unfolds. There’s real danger at hand, and nothing proceeds remotely like a cliché. This is a fresh, smart thriller that will captivate your attention for its entire 146 minute runtime. One would think that a deliberately paced thriller with that kind of runtime would lag somewhere or feel drawn out, but Prisoners makes amazingly solid use of every minute of screentime to progress every element of story and character to its ultimate, immensely satisfying and brilliant conclusion.
Denis Villeneuve has just come out of nowhere for me, and now, he has my undivided attention. Prisoners is absolutely perfect. There is not a single aspect of it for me to criticize, only praise. This is an incredible cast delivering amazingly powerful and raw performances in a rattling and haunting thriller. I have never stated in a review of a newly released movie that it is the best one I have seen all year because you never know what else could surprise you in the remainder of that year. However, I cannot imagine what else is possibly going to steal away that title from Prisoners because it is that stunningly impressive without a flaw in sight. Do yourself a great favor and see this movie and support it. I hope you are as enthralled with it as I was.
I’ve made some mentions of the Die Hard clone in recent months in reviews of Sudden Death, Olympus Has Fallen, and more. Now, just because you’re the first do something, or the one who sets the trend doesn’t always mean you did it best. However, in the case of John McTiernan’s blockbuster action film Die Hard, there is simply no equal. While I don’t list it as my number one favorite of all time, I cannot deny that this is likely the best action movie ever made, and there are a lot of qualities that go into making it that exceptionally awesome.
NYPD Detective John McClane (Bruce Willis) has come to Los Angeles to spend Christmas with his estranged wife Holly (Bonnie Bedelia) at her company’s holiday party. However, as he waits for the festivities to end, the entire building is taken over by a heavily armed team perceived as terrorists, but their sinister leader, Hans Gruber (Alan Rickman), reveals that his interest is purely in greed. As the hostages are rounded up, McClane slips away with only his service revolver and his cunning wits at his disposal. What begins as a perfectly planned crime quickly ignites into McClane waging a one man war to save everyone before they are all blown sky high.
There are many things that set Die Hard apart from everything else, but I think the biggest key of it are the characters. Beyond just the performances, this film takes its time to introduce them to you, and allow for their dynamics and personalities to play out before any of the action begins. This is mainly the development between John and Holly McClane. Their turbulent marriage is fleshed out in smart, subtle beats that never feel like exposition, just natural conversation. These are real, relatable people in a grounded reality with normal problems that are soon thrust into an extraordinary situation, and because we get to know these characters through levity and emotional conflict, we care greatly about them once peril befalls them. Even the villains are given their due time to feel fleshed out and dimensional such as how Hans Gruber discusses men’s suits, art, and culture with Takagi before threatening him with a gun for the password to his vault. These moments make Gruber an interesting and engaging villain who has a fairly equal amount of depth to John McClane. This way, it is also a battle of wits and personalities as much as it is a pure action conflict. This is so much due to the time director John McTiernan and his screenwriters took to slip those important character building moments into the film, and that makes it a greatly more substantive action film that you would regularly get in any decade.
Now, the 1980’s were filled with the larger than life, nigh indestructible action hero. Then, comes along John McClane. This guy who is as vulnerable as the rest of us that gets beaten up, his feet sliced up by glass, bleeds everywhere, feels fear, and gets progressively worse for wear as the film goes on. All the while, under the intense stress of a violent life or death scenario, he’s cracking wise with everyone left and right just doing what he can to cope and survive. Where a Rambo or John Matrix type would just burst in blazing a full arsenal to wipe out everyone, McClane has to be clever and cautious every step of the way against these extremely well-armed killers. All he has is his wits, and Bruce Willis’ well established comedic talents blended perfectly into the quick witted quips of McClane. I’m sure there was speculation abound leading up to this film’s release as to Willis’ ability to be an action hero because of doing so many comedies, but he was able to bring a completely unique identity to this role that is hard to match. While it is the wisecracks that we remember so much, the purely human moments of drama really sell this character as one that stands apart from so many others. Bruce Willis really shows that he could do the full spectrum of acting here as he leads this film with charisma, heart, and physical intensity. He brings a fresh dimension and grounded realism to McClane that makes him the beloved, very human, bad ass icon that we so love.
Just how McClane is a distinct departure from the action heroes of the day, Hans Gruber distinguishes himself from many of the over the top, cheesy villains of the 80’s. Alan Rickman is brilliant as Hans Gruber. What truly makes this so is that he’s not obvious at all. Gruber is a guy who is smart, charming, smooth, educated, and charismatic. Yet, he’s a calculated, clever, ruthless villain. You can see that Gruber had every single detail of this plan plotted out perfectly, and is able to outsmart and keep ahead of everyone except for the one wild card in his brilliant crime in John McClane. As much of an sociopathic, murderous villain as Gruber is, you can be thoroughly entertained by the charisma and intelligence Alan Rickman injects into him, but you still rejoice when McClane finally does him in.
A little unexpected humor arises from the less than sharp minded LAPD and FBI. Paul Gleason’s Chief Robinson is clearly in over his head exercising clear incompetence while thinking he’s got everything under control. Then, FBI Agents Johnson and Johnson, a joke in and of itself, are too full of themselves with their gung ho testosterone to be perceptive enough to know when they’re being played. Add in more competent, yet still funny characters like Argyle the limo driver and Theo, Hans’ charismatic safe cracker, you’ve got laughs for miles without damaging the serious integrity of the action and drama of the movie. This is seriously one of the most quotable action movies ever.
Yet, amidst all the explosive thrills and well-timed humor, we get the tether of humanity with Sergeant Al Powell. Reginald VelJohnson connects perfectly in this role bringing the tired, wounded, and alone McClane into contact with someone on the outside who can be a moral and emotional support. An action film is great when the thrills are exciting and bombastic, but you get something exceptional when this thread of humanity is so strongly in place. VelJohnson gives us the full spectrum from lovable and funny to heartfelt and compassionate to stern conviction. Powell is ultimately given some depth and substance showing that this film wasn’t going to take a shortcut anywhere at all. The very human moments between Powell and McClane are a special strength.
But indeed, the action is ultimately the driving force of this movie, and once that spark of excitement is lit, it runs on pure adrenalin with riveting intensity and masterful execution. This is big action with a real sense of gravity and peril. The scale makes it amazingly fun and exciting while the weight of the drama makes it suspenseful and electrifying. I love the subplot with Karl’s vendetta against McClane for the murder of his brother, and when the two finally clash, it’s awesome. After all of the heavy gunfire and explosions, the few minutes of visceral raw physicality are a breath of fresh air before the scale of the action escalates further with the roof exploding signaling the third act rocketing forward. Die Hard does nothing but amaze you at every turn. Every step of the way, we care about these characters in the thick of danger, and we gradually see it escalate as Gruber’s plan unfolds. It’s also great seeing McClane figure things out a little at a time, such as wondering why Hans was on the roof, and then, realizing he plans to blow it sky high with all the hostages on it.
I tend to write these reviews while watching the movie so to pick up on all the nuances, but Die Hard is so consistently engaging, thrilling, and entertaining that I could hardly tear my attention away to type anything up. Whether it is the absolutely wickedly awesome action, the touching character building moments, or the great laughs it elicits from an audience, Die Hard is the perfect example of executing an action film correctly. There’s not a moment wasted, and the editing is dead-on sharp and perfect in its pacing and timing. Moments are so excellently punctuated with the right cut, and even more so with Michael Kamen’s remarkably intense and spectacular score. His is a masterwork of brilliant, sophisticated action film compositions. Not to mention, this is an expertly shot movie using those beautiful anamorphic lenses and that cinemascope widescreen canvas to accentuate the scale of the action. And where many action films today can barely keep the camera steady long enough to understand the geography of a single scene, McTiernan and cinematographer Jan de Bont do so many subtle things to layout the geography of this entire building. Early on, they walk you through the entire central area of the Nokatomi Tower over the opening credits so you understand where the hallways, elevator, offices, and stairway are so we can navigate it as competently as the characters. As the film goes on, we revisit the conference room, the elevator shafts, and the roof to maintain a familiar environment for the action. As a film lover and a filmmaker myself, this movie just makes me gush from a technical standpoint as it is so perfectly executed in every moment. This film is exquisitely made from a massively talented team of filmmakers, sonic geniuses, and brilliant visual artists.
This film was adapted from the Roderick Thorp novel Nothing Lasts Forever, and many of the mind blowing and clever moments in the film are taken directly from the novel. McClane’s jump from the exploding roof with the fire hose wrapped around him, the C-4 bomb thrown down the elevator shaft, and more exist in Thorp’s novel. Apparently, it was a novel written as a sequel to The Detective, starring Frank Sinatra, but he declined the role. Years later, it was supposedly intended as a sequel to Commando, starring Arnold Schwarzenegger, before being re-fashioned into the action classic that we now know and love. Indeed, everything has its right time to come to fruition, and Die Hard happened in the right way at the right time with the right talent.
Between this and Predator, John McTiernan established himself as one of the premiere action movie directors of the time, and of course, this launched Bruce Willis into blockbuster super stardom. Despite how Willis now feels about doing action movies, saying he’s bored with them at this point, we will always have these pinnacles of the genre when Willis was in his prime and eager to do his absolute best. Die Hard is probably the most perfect action movie I have ever seen as it hits all of the beats of excitement and character just right with a spot-on mix of drama and humor to make it an undeniably memorable experience. For anyone who has only ever seen either the fourth or fifth film in this franchise, you are doing a horrible disservice to yourself in basing the quality of Die Hard on those films. As I said from the start, there is simply no equal.
So, this is the last film in my Thomas Ian Griffith triple feature, and it’s odd that in each successive movie his hair gets shorter and shorter. Also, each of these films have some very impressive names attached to the cast. This time, we’ve got John Lithgow and Donald Sutherland, so, there’s certainly talent on screen worth watching. Hollow Point sees Griffith going pretty crazy with a full charge of charisma in a film I wasn’t expecting to be what it was. Let’s see what it is that it happened to be.
FBI Agent Diane Norwood (Tia Carrere) is ready to do almost anything, even to spoil her own wedding, in order to bring down Livingston (John Lithgow), a major money launderer. In the course of her dogged investigation she runs into the audacious DEA Agent Max Parish (Thomas Ian Griffith) who also wants Livingston. After the two of them reluctantly join forces, they track down Garret Lawton (Donald Sutherland), one of Livingston’s disgruntled hitmen, to help bring him down.
After the conspiracy cop thriller and the Die Hard clone from Griffith, we now get something that tonally veers off in a wild direction. I went into this expecting a fairly serious action movie, but right in the first fifteen minutes, you’ve both Griffith and Sutherland being all kinds of off-the-wall crazy. A Russian Mafioso is smuggled around town, after slipping back into the country, in a casket, and the Max Parish character hijacks his hearse in an effort to interrogate him. In a chase down a stairwell after this, Sutherland’s assassin character Lawton practically cackles and prances around like a nutjob chased by Agent Norwood while Parish rides a window washer’s harness down spouting out jokes. I was laughing my ass off. This is all just plain nuts based solely on Griffith and Sutherland, and this is them just getting warmed up. This is a movie that just knows how to have fun with itself, and I was happy to indulge in it.
Hollow Point ultimately is a buddy cop movie where, absolutely, neither Parish nor Norwood like each other in the least. They are adversarial to the point of sabotaging one another until they reluctantly agree to work together, but even then, they continually butt heads for many reasons. Parish is practically certifiably nuts doing nothing but unorthodox stunts every step of the way, and Norwood feels very dedicated and straight arrow, up to a point. So, it is the classic personality clash dynamic which stirs up friction and entertainment value. Hollow Point is, by very far, no Lethal Weapon, but it’s certainly a whole lot of fun.
As I already touched upon, Thomas Ian Griffith really cuts loose with all of his charisma. Max Parish is ultimately a guy working outside the bounds of the law to his own ends, and so, he’s going for broke at every turn. Thus, he’s greatly unpredictable and spontaneous which facilitates Griffith to throw everything into this performance to make it endlessly fun and exciting. There’s very little opportunity for drama to seep into the Max Parish character as the film really drives for the fun and laughs, but there are a few light, fleeting moments of seriousness that he slips in and out of smoothly.
Yet, as crazy as Griffith is here, Donald Sutherland is full blown whacky. There is not a scene where he isn’t grinning like he’s gotten a snout full of Nitrous Oxide, and just being the nuttiest hitman you’ve ever seen. Sutherland was clearly having an incredibly fun time playing this role with all the eccentricities and flare possible. The flipside of that is John Lithgow doing a fairy straight villain performance, but it’s rather middle of the road. He has lightly humorous moments along with grounded serious ones. After seeing him in both Cliffhanger and Ricochet, I know he can do bad ass bad guy wickedly, but this outing here is nothing special, yet I was glad to have him there. He made the character more interesting and entertaining just by him being in it, and goes the extra mile in the climax.
As you might expect, Tia Carrere is not the most convincing tough federal agent. She certainly plays the role to the best of her ability, and is competent in all the action scenes. However, despite her best efforts, I couldn’t be fully sold on the casting choice. The Diane Norwood role was better suited for someone with more inherent toughness, charisma, and savvy. Sandwiched in between Griffith and Sutherland chewing up scenery with full-tilt vibrancy, Carrere doesn’t really standout at all. She has some decent moments that gain her some credibility, though. Plus, she and Griffith have pretty good chemistry, and she handles the humorous moments sufficiently. I just think there was a stronger casting choice available somewhere for this character, but Carrere’s sex appeal is mildly on display, answering some of the questions of why she was chosen.
The story here is almost unimportant as most of the screentime is really devoted to the buddy cop style antics of Parish, Norwood, and Lawton. Lots of banter, silly moments, and mild scheming to plot against Livingston is all that’s really at play here. Some people want his money for their own gain, and someone else just wants to see him locked up in a jail cell. The movie does not intend to engage you with its story, and rightfully so. Hollow Point is all about its crazy personalities, fun action, and humorous tone.
Even the editing of this movie, with all of its cheesy wipes, goes for the comedy aesthetic, and ultimately, that’s the way you need to take this movie. It doesn’t really push for dramatic storytelling or really intense thrills. It is designed to just have fun with it, and that’s not a surprise from the director of The Taking of Beverly Hills, another B-movie Die Hard clone. However, that doesn’t mean there isn’t good action and plenty of explosions. Griffith doesn’t get more than two brief moments of martial arts action as it’s all gunplay and car chases, but the action has some very good production values. The climax really gives you a solid bang for your buck with a lot of fun scenarios, action-packed sequences, and a slightly quirky four-persona standoff. Of the Thomas Ian Griffith movies I’ve now reviewed here with Excessive Force and Crackerjack, this one is the most lively fun, but also, the stupidest of the lot in all the best ways.
Hollow Point just ends up being purely dumb fun that you might enjoy on cable some night. It’s good to have some laughs with and just enjoy the light-hearted action. By no means would this have been a box office success, but it’s perfect direct-to-video entertainment. Since this tightly focused look at Thomas Ian Griffith’s has been about assessing his action star potential, I think the only thing that kept him below the radar and mostly in the direct-to-video world was the quality of the scripts. It would seem like, even with the screenplay he did for Excessive Force, there wasn’t anything strong enough to jump out and grab attention. He also didn’t work with especially talented directors. Van Damme worked with Peter Hyams and John Woo, Steven Seagal worked with Andrew Davis and Dwight Little, Bruce Willis had John McTiernan, Renny Harlin, and Tony Scott, and the list goes on. Griffith got the director of Superman IV: The Quest For Peace and Iron Eagle I, II, & IV. He undoubtedly had every talent needed to be that breakout action movie star with the great martial arts skills, the acting ability to do straight, dimensional drama, charismatic wit, and really light-hearted humor. He had it all, but no one ever paired him up with the right filmmakers to encapsulate all of his potential in one explosive hit. As for Hollow Point, it’s certainly not a good movie, but it entertained me greatly with plenty of laughs. However, I’m eager to get back to reviewing some theatrically released action films.
Yep, I could make a whole month out of reviewing Die Hard clones before even getting around to reviewing Die Hard. Seagal, Van Damme, Snipes, Ford, and every other action star under the sun got their turn to grapple with this formula. So, Thomas Ian Griffith got his chance as Detective Jack Wild in this film that spawned two sequels, neither of which starred Griffith, but let’s see how Crackerjack stacks up to the competition.
Chicago cop Jack Wild (Thomas Ian Griffith) reluctantly aggress to join his brother’s family for a vacation at the exclusive Panorama Springs Hotel, high in the glacier-capped Rocky Mountains. But when a team of mercenaries determined to hijack over $50 million in diamonds descend on the resort, Jack strikes back. Now, together with beautiful hotel guide K.C. (Nastassja Kinski), Jack must race against the clock to stop their calculating leader Ivan Getz (Christopher Plummer) from getting away and exploding the glacier above the hotel to cover his tracks.
The burnt out cop is a very familiar trope in action movies, but if you get an actor who can really flesh out the character, it all works nicely. Thomas Ian Griffith again proves his quality as an actor showing Detective Wild to be relatable and interesting. Being a bit unhinged, he charges headlong into danger as if he does have nothing to lose, and that’s how he feels after his wife and kids were killed. When he’s dragged up to the ski resort, he’s restless and still potentially volatile, but after making a connection with Katia, you see him soften and begin to turn a corner. Griffith and Nastassja Kinski have some good, touching chemistry that translates really well on screen. The charisma he naturally brings into the film really enhances the clichéd material in the script, and makes Wild a dimensional and enjoyable character to follow.
The film really does a lot to build up the emotional investment in Jack Wild’s fractured situation. The flashbacks to the last moments of his family’s life are touching, and director Michael Mazo really takes the time for those emotions to sink in. The reveal of who actually killed his family is a rather unneeded additional motivation for Wild, but I’m hardly going to hold that against the movie. It’s not striving for fresh, original ideas as there is much lifted directly from Die Hard from the basic premise to very similar bits of dialogue, Getz’ right hand mercenary looking like a carbon copy of Karl, Getz threatening to kill an innocent man to motivate Wild to return the diamonds, and him planning to wipe out all the witnesses with a cataclysmic explosion. However, the filmmakers still manage to make this a very fun and entertaining ride despite how by-the-numbers and uninspired this script is. Much of this is due to some impressive action scenes, and the villain that we are given here.
I love Christopher Plummer. He’s an absolutely tremendous actor in so many compelling roles, but you know what? I think every serious, respectable actor deserves to take on a nicely cheesy villain role at least once. As Ivan Getz, I think he just eats up the fun quality of the role, and does make for an intimidating adversary even if so much is clearly lifted from Alan Richman’s Hans Gruber. The rather stereotypical German accent is the most obvious evidence, but it adds to the film’s B-movie charm. Getz separates himself from Gruber, though, by being a bit of a megalomaniac with delusions of grandeur akin to the Third Reich. It allows Plummer to have some intriguing monologues that kind of gives you flashbacks to him as General Chang in Star Trek VI, and that’s generally not a bad thing. Plummer and Griffith have some solid exchanges that build up the personal adversarial connection, mostly done over a two-way radio, and it’s enough fuel to keep the movie going at its consistent, good pace.
Crackerjack is indeed action packed, but features far more gunplay than Griffith’s martial arts skills, much like Van Damme in Sudden Death. However, this is still plenty exciting with big, explosive moments and fun thrills up and down this high altitude adventure. Despite being a direct-to-video feature, the action set pieces are quite impressive, especially when the helicopters blow up, and the finale has some really good miniature effects. For its time, this was a quite admirable action picture, but I would expect modern audiences to be left wanting more spectacle.
Now, if there’s one thing that makes Crackerjack feel distinctly direct-to-video it’s the synthesizer score. Absolutely, a completely synth based score can be excellent. I’m a Jan Hammer Miami Vice fan after all, but there’s a difference when you have a score that is primarily composed for an orchestral arrangement but is performed on a keyboard. After a while, it got to be almost distracting because I kept feeling like I was watching something from Full Moon Features like Subspecies. The score just sounds cheap in this context, and really detracts from the otherwise high production values here. If this score had been given an orchestral treatment, it would have been perfectly fine. There are times when the score works very well, but the obvious limitations do regularly show through.
You could maybe say the same for the cinematography as it is fairly point and shoot with very little in the way of special cinematic visuals. There’s nothing along the lines of crane shots, intriguing angles, or steadicam work, but compared to a lot of shaky cam action films today, I can find that more minimalist approach to be enjoyable. The action scenes are very competently shot, and you’re never confused as to what’s happening. The editing is conservative allowing the action to drive the cuts, and not forcing kinetic excitement by cutting to another shot every split second. Fast tempo editing definitely has its gold standards, but I do enjoy seeing a time when filmmakers did take their time to just allow the action to play out with more comfortable framing and stable camera work.
Crackerjack certainly doesn’t have the budgetary muscle to compete on the scale of its theatrical brethren, but I would say it’s good action B-movie indulgence. Griffith does a very good job in this role making him both an emotionally damaged man, but also a sleek, sharp, and savvy action hero. He brings his natural charisma into the mix to make Jack Wild a really enjoyable protagonist to follow through this perilous adventure. Again, if I’m examining this small window into his career, I can’t say that this could’ve been a breakout film even if it did have a theatrical release budget. The script is very derivative of possibly the best action movie ever made, aiming entirely for the low budget fare, and doesn’t inject anything fresh into the formula. You can definitely get entertainment value out of the film’s fairly well used clichés and the fun performances. If you need any further convincing, you can check out the very funny video that introduced me to this movie courtesy of TheCinemaSnob.com.
Most of the films in Ridley Scott’s filmography are fairly well known, but there are a few that are glossed over for whatever reason. For this film, the fact that it didn’t even make its money back at the box office is the likely reason, but it still garnered very positive reviews from critics. This is indeed a film of special, exceptional quality. Someone to Watch Over Me is not your typical Ridley Scott film, in most part. It’s story is definitely a cop thriller with a great urban atmosphere, but primarily, this is a romantic film done with great, beautiful artistic flare.
A stunning New York socialite and a down-to-earth city cop are caught in a deadly web of illicit passion and heart-stopping suspense. Newly-appointed detective Mike Keegan (Tom Berenger) finds his life turned upside down when he’s assigned to protect Claire Gregory (Mimi Rogers), the beautiful eyewitness to a brutal murder. Lured into danger and the dizzying heights of Gregory’s glamorous lifestyle, Keegan struggles to walk the line between protection and obsession – while trying to stay one step ahead of the psychotic killer Joey Venza (Andreas Katsulas), and not allow his happy marriage to fall apart over his affair with Claire.
I really like the vibe of this movie. It does have a very romanticized artistry to it, but with the moody subtlety that Scott is a master at. Oddly, while watching this, I got a very similar feeling as I got watching the John Badham romanticized version of Dracula, starring Frank Langella. It’s that foggy, subtle romantic visual quality with its greens and ambers which really struck me that same way. Someone to Watch Over Me is a finely crafted and gradually paced work of art that smartly blends the seductive beauty with the dangerous crime elements. By the trailer, you’d likely expect something a little more thrilling and exciting, but even then, this film easily roped me in. This is surely due to the great casting and excellent acting.
Michael Keegan is not the usual kind of movie cop. He’s surely streetwise, but he feels a little green and out of his element. Having just been promoted to Detective, he doesn’t have the consummate manner of those around him, and coming from Queens, he’s not accustomed to the high life sophistication of Claire’s world. So, he’s a bit of a blue collar style easy going guy, and Tom Berenger does a stellar job in this role. He’s extremely likable and fun loving early on, and progresses into a more serious, emotionally complex character as events unfold. You can see that Mike is very happy with his family, but as he gets deeper involved with Claire, everything begins to be torn apart within him. Berenger has great and distinctly different chemistries with Mimi Rogers and Lorraine Bracco, who portrays Michael’s wife Ellie Keegan. Both relationships have their own touching qualities, and work equally as beautifully. Ellie perfectly reflects the man he is, but Claire gives him something fresh and seductive. It’s an odd dynamic that you can feel so much for Mike and Claire, knowing they have something unique together, but also, view Mike as the bad guy opposite Ellie. That’s really a testament to Berenger’s talent. He makes Mike a very down to Earth guy with flaws, but never comes off as a reprehensible adulterer, just a man of sympathetic conflicts of the heart.
I was very pleased with what Mimi Rogers accomplishes in this role. The few moments where Claire is confronted by Venza are intensely fearful, and Rogers is greatly convincing. However, the majority of the film is focused on Mike and Claire becoming closer and more intimate. She proves to be a gorgeously romantic woman who is not a seductress. There’s nothing lurid about these two becoming involved. There is a genuine endearing attraction there that is quite touching, and the building of a chemistry and attraction with Claire is done quite subtly. She is charming, elegant, and vulnerable, but still exerts confidence. There’s a fine line between where she feels safe and self-assured and feeling very frightened that Rogers handles with delicate balance.
Through all this, you honestly feel for Ellie a great deal because she’s done nothing wrong to deserve this betrayal of her love. Lorraine Bracco is wonderful showing the agonizing pain of Ellie. She loves Mike so dearly, and that pours out so richly once she is scorned. This is really an exceptional performance as we see a full spectrum of emotion from Bracco from the loving and down to Earth woman to the deeply hurt wife and even beyond that in the film’s climax to utterly frightened to death. While the film is heavy on the Mike-Claire relationship, Bracco does such a strong job to keep Ellie’s end of the film relevant and emotionally impactful. By the end, that is the crux of the film’s resolution.
And I really adore Andreas Katsulas. He was taken from us far too soon. Many would know him as the one-armed man in The Fugitive, but my heart with him lies with the science fiction series Babylon 5. Here, his role is full-on in intimidating heavy mode. His screentime is fairly restrained, but his presence is almost always felt. That presence is very effective right from his first few minutes of screentime all the way through to the taut, thrilling climax. Katsulas takes that great talent of his and compounds it into a lethally threatening performance. Like with everything else here, the key word is definitely “subtlety.” Ridley Scott has such a great handle on tone with his visuals and actors that it is no surprise that everything is just pitch perfect throughout this cast. Of course, I couldn’t forget to mention the late and charming Jerry Orbach as the solid Lieutenant Garber. Orbach is always a bright pleasure to see in anything he ever appeared in.
It also put a smile on my face when Michael Kamen’s credit came on screen as the composer. I really, dearly love his work. There was always a real elegance and sophistication he brought to his scores, and Someone to Watch Over Me definitely gave him the opportunity to flesh out some lush, romantic cues. There’s the obligatory saxophone parts, but it’s done so very beautifully. It really is a lovely tapestry of romanticism that he weaves throughout this film while never remotely approaching over the top melodrama. He’s aided a little by a smooth jazz style arrangement of the title song by Sting, and some fine music tracks from Steve Winwood and Fine Young Cannibals early on. The work Kamen does with the tenser, more thrilling scenes is very effective and taut. This is the perfect score for this movie accentuating every subtlety with careful craftsmanship.
Also, it seems that no matter what cinematographer Ridley Scott works with, his visual style always comes through brilliantly. You could turn this movie on, not knowing anything about it, and know it is a Ridley Scott movie just by the rich atmospheric noir look of it. Someone to Watch Over Me is absolutely gorgeous re-crafting the looks of Alien or Blade Runner into a romantically effective package. The scenes early on in the night club and art gallery are brilliant, perfect examples of Scott’s signature style. Later on, inside Claire’s upscale apartment, the overall look is very seductive with soft, dim amber lighting. As usual, Scott uses very deep blacks and smoky, shadowy visuals to create a mysterious atmosphere, and even on the streets of New York, that works so stunningly well. If for nothing else, Scott is one of my favorite directors based on his gorgeous visual neo noir style.
Beyond all of the stunning aesthetics, the story played out in both the seductive romanticism and the dangerous crime thriller are perfectly interwoven. I found the balance just right for the film’s intended emotional direction. I would definitely imagine a film like this today being forced to be packed with a lot more action and excitement instead of developing the romance and subtle suspense. Thankfully, this was made in a time when someone like Ridley Scott, whose last couple of films had not done well at the box office, was able to make the movie he wanted to make. He does a fantastic job with Howard Franklin’s screenplay just enveloping it entirely in his articulate, detail oriented sensibilities and wonderfully inspired visual style. Yet, the visual awe is not used to mask any lack of substance, but to enhance the strengths of it all.
I really did enjoy Someone to Watch Over Me. If you enjoy a classic thriller with a twist of romance, which the film’s tagline boasts, you will certainly find some satisfaction here. Ridley Scott directs this film with class and a focus on the smooth moody atmosphere and gradual development of its characters. The cast is absolutely top notch featuring substantive and respectable work from everyone involved. This film is actually a very clear precursor to Scott’s next film, Black Rain, which was an excellent full-on thriller, but still with a lot of that romanticized atmosphere of danger. If you’re looking for the exciting flipside to this seductive film, Black Rain is absolutely that film. Just forego watching the trailer. It’s a little on the spoilery side. Anyway, Someone to Watch Over Me is a very beautifully crafted and executed film that I really do highly endorse.
Many attribute the birth of the slasher genre to John Carpenter’s Halloween. However, a small Canadian film from 1974 laid the groundwork for the genre and especially Carpenter’s seminal classic. Black Christmas is likely known to younger horror fans by way of the remake that I never saw. You do yourself a serious disservice if you have never seen the original because it is still a greatly effective piece of horror filmmaking with a collection of surprisingly notable talents involved. Who would have ever thought that the director of the beloved family film classic A Christmas Story would have once done a Christmas-themed slasher movie?
The college town of Bedford is receiving an unwelcome guest this Christmas. As the residents of sorority house Pi Kappa Sig prepare for the festive season, a demonic stranger begins to stalk the house. A series of grisly obscene phone calls start to plague the residents of the sorority and soon they will each meet their fate at the hands of the psychotic intruder. As the Police try to trace the phone calls, they discover that nothing is as it seems.
Watching this film you will see right from the start its influence. The killer, Billy, as he refers to himself, is hidden almost entirely throughout the film through the use of a point of view camera. Clearly, this trick would be re-used in both Halloween and Friday The 13th, but neither achieves it quite as well as Black Christmas. That’s because of what more is added to it in terms of the killer’s psychotic behavior. Director Bob Clark creates an amazing sense of unease with the point of view camera work. The wide angle lens coupled with the slightly unsteady camera movement reflects the psychosis of this killer. The completely deranged phone calls are still frighteningly disturbing. They got right under my skin from the start, and continue to escalate as the film progresses. The radically unhinged psyche of this deranged killer is manically on display throughout the film, and Clark wastes no time establishing the nerve-racking suspense and horror. The fact that we know there is a crazed killer hiding out in the attic, unknown to everyone in the film, immediately injects suspense and terror into nearly every scene in that house. I will admit, it’s been a very long time since I’ve watched this film, and damn is it still insanely creepy and effective.
Black Christmas was an especially low budget film, and so, it has a rough, grainy quality. However, it is photographed very solidly showing the talent involved, and even then, the rugged quality of the film stock adds to the dark, unsettling tone. The pacing might feel slow to a certain audience, but this is not a film that drags along. Every methodically paced moment is used to great suspenseful effect, and Bob Clark knows so immensely well how to elicit these spine tingling feelings. Each scene builds story, character, or towards the terror of the picture. Yet, the film still features a few fine moments of levity to give it a needed contrast on a rare occasion. It also has a collection of stunningly solid talents in front of the camera.
Olivia Hussey is a wonderful lead portraying Jess with a lot of compassion and vulnerability. Hussey has a sophistication and warmth to hear in addition to maturity and intelligence. This builds Jess into a relatable character to worry about on multiple levels, and she plays terrified exquisitely well. She also does feel like a woman coming into her own as Jess deals with her boyfriend Peter. He wants to have a baby with her, but she’s against the idea creating a troubling friction between them. You might think this is a frivolous subplot, but it directly ties into the mystery and paranoia about the film’s killer moving forward. Keir Dullea, most well known from 2001: A Space Odyssey, is quite superb in this very conflicted and emotionally aggressive and unstable role. He’s very intriguing to watch as the relationship between Peter and Jess is torn apart, and begins to become a perceived menacing threat. Dullea and Hussey work exceptionally well with one another laying out the drama between them smartly and poignantly.
And yes, this film has John Saxon. That automatically increases its coolness factor. I just love the authority and weight he brings with him in anything I see from him. As Lieutenant Fuller, he’s everything you’d expect – confident, level headed, and concise. He really echoes this performance in A Nightmare On Elm Street, but surely builds upon that. As Fuller, he’s rock solid, just the way I want my John Saxon, but still has a moment of two of levity that is very much welcomed.
Margot Kidder puts in a surprising performance. Sorority sister Barb is meant to be rather crass and heartless, and Kidder hits that right on the mark. Add in the constant smoking and drinking, and you’ve got a character that is not endearing. Yet, she makes a definite impression. The rest of the cast is not particularly notable, but everyone does a very solid job with their distinct characters. They make this a horror film with likable characters who you can easily fear for as lethal danger stalks them from the shadows.
Black Christmas definitely feels like a 1970’s horror film. Beyond the aforementioned dark, grainy look and the obvious fashion and hairstyles, this film has almost a similar style as The Exorcist. There’s very little score except in exceptionally key moments as Bob Clark uses the silent unease of the house to great effect. The phone calls are jarring enough without overcompensating with a score. The use of the Christmas music sets the tone wonderfully using the serene sound in an unexpectedly haunting way. Scenes like when our killer is stalking through the house while Christmas carolers sing outside is simply brilliant. Juxtaposing these angelic voices with a moment of suspense and violence is truly inspired, and is filmed gorgeously.
There are terribly creepy moments all throughout such as seeing just a shadow creeping into the background while Jess is on the phone with the police, or simply anytime the POV shot has our killer spying on these young ladies from upstairs. And the shot of the eye through the door jam has become iconic and chilling as it sets off the film’s final act. And the climax is brilliantly crafted with a great use of shadow, misdirection, and taut tension. Just when you believe all is laid to rest, this ending gives you one final ominous moment of terror. Wrapping it all up together, you see the brilliant touches that Clark and screenwriter Roy Moore put into this film. In later years, it likely would’ve been a film of high body count, gratuitous sex, and little character. However, in the same year that brought us The Texas Chain Saw Massacre, you get a film that is very well written that connects you with these characters, gives you something to care about with them, and then, set them against a very deranged and unseen killer. It is a film of great suspense and ratcheted up tension that will leave prone audiences choked up in their seats, and wanting to turn all the lights on in the house while checking every room and locking every door when its all over.
From Black Christmas, you can definitely see evocative elements for Halloween and When A Stranger Calls. This is absolutely one of the most influential slasher films without many people knowing it. Maybe the influence was a time or two removed, but this was the genesis of that genre in a clearly defined form. This is a classic that doesn’t get the recognition it so very much deserves. This was director Bob Clark’s final foray into the horror genre, and it’s odd to see his career veer into comedy in the 1980’s, then very silly and wretchedly received kid’s films in the final years of his life. Regardless, we will always have this amazingly effective horror and suspense film to scare us on a dark, quiet evening. As this film’s tagline says, “If this movie doesn’t make your skin crawl… It’s on too tight!”
There seems to be an idea out there somewhere, I don’t know where it came from, that Predator 2 is a markedly inferior sequel. This is wholly unjustified. Surely, everyone has their own opinions on how this measures up to the original classic, but to me, this is a great follow-up which expands on the ideas and premise in exciting new ways. Predator 2 contains numerous admirable qualities, and is helmed by a director with a great eye for sleek visuals. Anything it doesn’t recreate from the original it replaces with a higher energy and larger scale action.
In the urban jungles of Los Angeles, Detective Lieutenant Mike Harrigan’s (Danny Glover) police force is at war with drug lords and gangs. But just as Harrigan admits he’s losing the fight, one by one, gang lords are killed by a mysterious, fierce adversary with almost supernatural powers – the Predator. Before long, the vicious creature begins to hunt the hunters – Harrigan’s men. Now, Harrigan doesn’t just want to bring the creature in – he wants to bring it down. However, he is hindered along the way by government Special Agent Peter Keyes (Gary Busey) who has a shady motive to his secretive investigation who knows more about this ultimate hunter than Harrigan even suspects.
Surely, you would think going from Arnold Schwarzenegger to Danny Glover would be a strange swerve. I always imagined that if this was made a few years later that it would be Wesley Snipes as Mike Harrigan, but I’ll be damned if Glover doesn’t deliver here. The character is designed as a seasoned cop who’s been fighting this unrelenting war on the Los Angeles streets for a long time. He’s dogged, inventive, and is a cop who plays by his own rules, taking a backseat to no one. Glover portrays this with the rugged determination of a consummate street cop. He doesn’t like the politics that get rammed down his throat, and he slickly, yet passionately sticks it back in their faces. However, he is wholly loyal to his team, and treats them with respect as comrades in arms because they are fighting a war. Glover also demonstrates the emotional depth of Harrigan when his closest friend, Danny Archuleta portrayed by Rubén Blades, is gruesomely killed by the Predator. The flashes of enraged vengeance, and the heartfelt moment at the gravesite show Glover had the talent and skill for this role, which also demanded a lot from him physically. He greatly delivers on that end, too. I think making him a distinctly different protagonist than Dutch was the right way to go.
Many will indeed enjoy Bill Paxton’s performance as the jokey Jerry Lambert. He’s the newest member of Harrigan’s team known as “The Lone Ranger.” He’s a guy that’s gotten a lot of ego stroking and glory, but he quickly becomes an enthusiastic team player. This is Paxton at his full charismatic and comedic richness. He adds the levity to break up the grisly heaviness of the film. The rest of the supporting cast is filled out by Rubén Blades and Maria Conchita Alonso as the seasoned members of Harrigan’s team. Both bring their top level enthusiasm and talent adding to the cast’s vibrancy. Then, we get the late, great original king of trash television Morton Downey, Jr. as the appropriately cast tabloid sleaze-miester Tony Pope. He’s puts in a fantastically entertaining performance.
Now, Arnold Schwarzenegger was approached to return for this film, but he turned it down to do Terminator 2. Thus, his role was rewritten as Peter Keyes and re-cast with Gary Busey. I think this was an equally beneficial turn of events. The story works supremely better not knowing what Keyes’ agenda is, and allowing for him to be an adversary and foil for Harrigan. Busey does an excellent job bringing forth his signature energy and leaning Keyes towards the smarmy, shady side. He’s smart and cunning, but still a self-serving government agent who cares more about his findings for the military than Harrigan’s war on violent gang crime.
Also, I love the Jamaican gang here. They are totally savage and chilling with King Willie being fantastically awesome. He brings the mysticism into the fold with a wickedly cool scene opposite Harrigan, but also, a greatly visualized confrontation with the Predator. Calvin Lockhart is so awesome in this role. The theatricality, mystique, and powerful presence he brings entirely does justice to his Royal Shakespeare Company roots. He delivers my favorite performance of the movie. Knowing that director Stephen Hopkins was born in Jamaica, it doesn’t surprise me how rich and memorable these characters are here.
The visual effects are distinctly improved from the first movie. The Predator vision is the most obvious example as the infrared and other modes have more distinct color separation and possibly are of a higher resolution. The optical effects of the Predator’s cloak are used more dynamically and are integrated into more complex environments. We see it in more motion and detail. My favorite effects shots in the whole movie are when the Predator squares off with King Willie. First off, the tracking shot of the cloaked feet walking through the water is brilliant work, and then, the reveal of the Predator in the rippling puddle is awesome. Seeing how these are done in the featurettes on the Special Edition DVD are astounding and what I’ve always loved about movie magic. These striking, innovative images are largely due to do director Stephen Hopkins’ great visual style.
Teamed with regular director of photography Peter Levy, Hopkins gives Predator 2 its own unique visual sleekness. It has a great use of dynamic, intriguing angles. The action is captured remarkably well, and we even get a few scenes of atmospheric, moody lighting. Two of the best shot scenes are, first, inside the slaughterhouse bathed in blue light where the Predators assaults Keyes’ team, and then, the entire climax inside the Predator spacecraft. Counterbalancing that blue with a largely orange color scheme there is another sign of Hopkins’ great visual sensibilities. Beyond just the color schemes, these sequences have great use of sweeping cranes and steadicams shots enhancing the production and artistic value of the film.
This new Predator is recognizable, but has a bit different look and feel to him. He feels more brazen. He’s taking bigger chances, and taking on greater numbers. Hunting in a major metropolitan area means he’s attracting more attention to his work. So, he’s not as calculated, in general, but when he finds a prey he really likes, such as Harrigan, he takes his time to study him. He also taunts Harrigan as if he’s issuing an honorable challenge. I very much like that the filmmakers did this to show, even subtly, that this is another unique individual with his own personality, but with the same objective. It’s also great seeing the arsenal expand with the telescoping spear, the projectile net, and the flying disc. It gives the impression of a larger safari at hand where he’s equipped for bigger game. Kevin Peter Hall, yet again, does an awesome, exceptional job overall. He defined this role so perfectly, and it is a terrible shame that his life ended only a few years later. However, what he did laid the template for others to succeed him in this franchise.
The strengths of Predator 2 is that it is much more energetic and diversely entertaining than the original. The pace is faster as there is more going on here between the gang wars, Peter Keyes’ shady dealings, and Harrigan’s own dogged investigation. The action sequences are bigger and more dynamic allowing for a higher body count, but not as much gore. The film originally gained an NC-17 rating, but likely, Fox panicked and did more aggressive editing to secure an R rating. There is still blood abound and plenty of violence, but far less cadavers begin ripped apart. What we do see in that regard is obscured or done in heavy shadow. So, it ups the energy and action, but reduces the graphic content a little.
I would agree that these characters are not quite as captivating as those in the original. Neither film delves deeply into their characters, but it’s just the nature of battle hardened soldiers in a ominous jungle versus tough, seasoned cops on the streets of Los Angeles. One if inherently more intriguing than the other. There’s a little more levity in this film akin to a wisecracking John McClane in areas as Harrigan’s fear manifests in a few humorous quips. Since the film focuses more on an energetic pace with a more divided focus, there’s little mystique about the Predator himself. Again, he’s much more blunt and brazen, but you do lose that intensely dramatic build up to the third act. The Peter Keyes subplot sort of veers the emotional drive of Harrigan off-track, and the climax just becomes about having to stop this alien one way or another. There’s no more survival aspect, just hero versus villain. There is some peril throughout the third act, but none of it rivals the dire lethality and immediacy of the first film.
Still, the little teases we get at the end with both the Alien skull in the trophy room, the reveal of the half dozen other Predators onboard the spacecraft, and the flintlock pistol with the engraving of the year 1715 on it lay big seeds for a follow-up. However one might have felt about this movie, it surely left you intrigued to see how the next film could expand on these concepts further, but a proper third movie would not see fruition for another twenty years.
Predator 2 may not hit all the great qualities of the film first, but has entertaining trade-offs making it a more lively, faster paced action film. It again has a solid cast filling their roles with vibrancy. The violence and intense action are enhanced by stylish, sleek visuals and excellent editing. The optical visual effects are stunningly impressive pushing the ambition further, and with more time to plan, Stan Winston Studios developed the Predator further with great new weaponry and a fresh look. Alan Silvestri also returns adding some new flavors to his original themes, and adapting some of the feel to this film’s style and content. I would like to pay tribute to Kevin Peter Hall, Calvin Lockhart, and Stan Winston who have all passed on since this film’s release. All three did stunning work here that deserves notable credit and praise. This franchise, outside of the AVP films, has maintained a fairly steady stream of quality. The screenwriters of the first movie returned to expand on their own concepts, and it was executed very well by a competent and capable director. Predator 2 s definitely worth your while. It’s not as slam bang amazing as the first, but it’s a largely worthy sequel.
If you love Stallone’s bonafide action films, then Cobra is absolutely one of his signature outings. It also has an interesting origin. It originally started out when Stallone was cast as the lead in Beverly Hills Cop, but instead of the action comedy we got with Eddie Murphy, Sly did rewrites to essentially change Axel Foley to Marion Cobretti. When he and Paramount couldn’t agree on this, they parted ways, and Cobra was born. This is also an adaptation of the novel Fair Game by Paula Gosling, which was the basis for a William Baldwin film in 1995 of the same name. I’ve never seen that film, but this one, it is a really damn good one.
Lt. Marion Cobretti (Sylvester Stallone) is a one-man assault force whose laser-mount submachine gun and pearl handled Colt 9mm spit pure crime-stopping venom. Cobretti finds himself pitted against a merciless serial killer called the Night Slasher (Brian Thompson). The trail leads to not one murderer but to an army of psychos bent on slashing their way to a “New Order”- and killing the inadvertent witness Ingrid (Brigitte Nielsen) to their latest blood spree. Fortunately, Cobra is her protector intent on bringing down these brutal maniacs.
Very notably, Cobra was helmed by director George P. Cosmatos who also did Rambo: First Blood, Part II and the absolutely amazing Tombstone. Under his skills, this is an excellent action movie! Primarily, the quality of the cinematography and editing is amazingly superb. I see a lot of good quality films of this sort on the filmographies of the editors and cinematographer that prove to me that this was not a one-off shining moment. This film does have a gritty style with a strong sense of mood and atmosphere for the urban environment. I took special note of just how well visualized this film was, which would have turned out very generic in much lesser hands. With Cosmatos, Cobra has real bite and punch. He also executes the high tension and suspense sequences with remarkable ability. The parking garage scene where the Night Slasher is stalking Ingrid is a gorgeous example of this.
The Cobretti character is surprisingly understated in most cases. Sure, when he’s in the heat of action, he’s bad ass and intense, but outside of that, Stallone plays it cool. He’s calm and collected handling urgent scenarios with confidence and sharp action. Stallone also brings his usual heart and charm, adding a little charisma and levity to Cobra, but overall, he’s a hard edged cop that’s ready to kick ass at a moment’s notice. The entire look of Cobra with the five o’clock shadow, black overcoat, mirror aviator glasses, and the wicked cool 9mm just certifies the character as awesome. Its not a character that jumps off the screen, but with that great look and a couple of cool one-liners, Marion Cobretti drives forward an entertaining film.
Brigitte Nielsen might be regarded very poorly today, but early in her career, she was particularly good. Her performance as Ingrid is soft and gentle in the most part, but she also handles the terrified moments in the film exceptionally well. Not surprisingly, she and Stallone have real good chemistry. They would later marry and divorce within a few years. Here, you can see their real life affectionate for one another shine through on the screen making for a heartfelt connection that adds more depth to both characters.
The use of Brian Thompson as the Night Slasher, our main villain, is just right. I honestly have never felt he was a particularly good actor outside of his powerful physical presence. However, the script and Cosmatos wisely utilize his imposing figure and psychotic killer look instead. He has extremely little dialogue until the climax where he monologs his creed about his New Order, and he does an exceptional job with this dialogue letting his deep voice carry its weight.
And I love Andrew Robinson in everything I’ve seen him in. He beautifully plays the smarmy Detective Monte who likes to throw his weight around, and dig his ego into Cobretti like a thorn in your side. You can’t wait to see this guy get what’s coming to him by the end.
By no doubt, there is a lot of excellent action here. Stallone gets plenty of chances to get physical with some hard edged fight scenes. Then, there’s an adrenalin pumping car chase with some great car stunts and rapid gunfire. Add in some tense, scary moments of Ingrid fighting for her life from the Night Slasher, and you’ve got a very intense, exciting action movie from a director who just knew how to film it with masterful vision. The editing on these action sequences is so perfectly tight. This is especially exemplified in the amazingly dynamic shootout and chase sequences that kick start the climax. The rhythm, pacing, and impressive choice of angles are just excellence on display. Cosmatos was a brilliant action sequence visionary, and everything in that climax is bad ass and awesome. It starts out hard and fast, and then, gets tough and brutal inside the industrial factory. The final confrontation between Cobra and the Night Slasher is really damn good. This is a great, tense, climactic moment that Stallone and Thompson play dead-on-the-mark in this fiery, industrial setting aided by the excellent cinematography and Cosmatos’ razor sharp direction. It’s wicked cool.
Further showcasing that this is an 80’s movie is the rock soundtrack. It starts with a sweet montage sequence fueled by “Angel of the City” by Robert Tepper, who also contributed “No Easy Way Out” for Rocky IV. We then get a couple of other tracks that are catchy, upbeat, and energizing to the vibe of the movie. This helps keep the film lively and little more memorable. The actual score by Sylvester Levay here serves its purpose right fine, but doesn’t standout as anything exceptional.
Cobra is a fun, entertaining, exciting film packed with action. It has a moody, serious tone with the door comfortably open for levity, but it never gets especially cheesy. This is a really good action movie that will satisfy even today. The standard fare script by Stallone is entirely elevated by George Cosmatos’ stylish directing talents. Cobretti himself is not all that fascinating as it’s the attitude and look that sets him apart including the cobra emblem Colt 9mm and the custom 1950 Mercury. It’s not a character that puts a challenge on Stallone, but he likely enjoyed the experience. I certainly would have enjoyed seeing a sequel, but this was also a time where Sylvester Stallone’s ego started swelling a lot. So, I can imagine there could have been some behind the scenes conflicts. Regardless, check out Cobra! It’s a solid piece of action cinema!