After his students are killed by the One Armed Boxer, a vengeful and blind Kung Fu expert travels to a village where a martial arts contest is being held and vows to behead every one armed man he comes across.
It's a hard crime story about a Philadelphia shop owner who has enough of the criminals' violences and ravages. He organizes a patrol of civil people. It all starts to go wrong because his ... See full summary »
Young troublemaker Michael learns about his native American roots from his grandfather who lives at a reservation. The boy starts to bond with a horse his grandfather buys him, whom he ... See full summary »
Lois Red Elk
The reporter, Jake Lingle, who is killed at the end of the film by Robert Forster's character, Turk, was a real person. Lingle was gunned down in 1930, four years before the setting of this film. Lingle was killed by an underpass as shown in the film, however, it was at rush hour with crowds of people around. See more »
In the heart of little old New York, You'll find a thoroughfare. It's the part of little old New York That runs into Times Square. A crazy quilt that "Wall Street Jack" built, If you've got a little time to spare, I want to take you there. Come and meet those dancing feet, On the avenue I'm taking you to, Forty-Second Street.
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Clearly a product of the Corman School, Sayles's first major screenplay shows that he already knew how to tell a great story from an interesting angle, something he has never forgotten how to do.
Director Teague keeps the pace rattling along, and hammers the message home fast (he was an occasional assistant to Sam Fuller, of course).
The plot's quite straightforward, and all the better so - this packs something of the punch of the 30's classic gangster films, but with distinctly 70's sensibilities to violence.
Where the film becomes more interesting than your average low-budget 'gangster-exploiter', however, is in the telling of the story through her eyes, rather than his (a distinctly 70's approach). Yet it's wonderfully ambiguous, on reflection, as to whether the film champions her willingness to break away and start acting for herself (she's a great strong character), or whether she just goes from one woman in peril situation to the other (which is the plot, basically).
I've probably over-analyzed it already, but if you've got a spare hour and a half on your hands, give it a chance. A classic of its kind.
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