Wes Block is a detective who's put on the case of a serial killer whose victims are young and pretty women, that he rapes and murders. The killings are getting personal when the killer ... See full summary »
Skip tracer Tommy Nowak is tracking Lou Ann McGuinn for a bail bondsman in California. Lou Ann is also being chased by her husband Roy McGuinn and his birth right/neo-nazi friends for ... See full summary »
Philo takes part in a bare knuckle fight - as he does - to make some more money than he can earn from his car repair business. He decides to retire from fighting, but when the Mafia come ... See full summary »
Buddy Van Horn
As the film opens on an Oklahoma farm during the depression, two simultaneous visitors literally hit the Wagoneer home: a ruinous dust storm and a convertible crazily driven by Red, the ... See full summary »
A hard but mediocre cop is assigned to escort a prostitute into custody from Las Vegas to Phoenix, so that she can testify in a mob trial. But a lot of people are literally betting that they won't make it into town alive.
Kansas City in the 1930s: private investigator Mike Murphy's partner is brutally murdered when he tries to blackmail a mobster with his secret accounting records. When a rival gang boss goes after the missing records, ex-policeman Murphy is forced to team up again with his ex-partner Lieutenant Speer, even though they can't stand each other, to fight both gangs before KC erupts in a mob war. Written by
Tom Zoerner <Tom.Zoerner@informatik.uni-erlangen.de>
Reportedly, stars Burt Reynolds and Clint Eastwood had been talking about doing a movie together for a number of years before this film project finally came to fruition. See more »
In the gunfight scene in the street, when Lt. Speer is walking down the street with the pump-action shotgun, the audio is of the action being operated in one fluid motion, while the video shows the action being pulled open, Speer pauses momentarily, and then closes the action, with no sound. See more »
[Murphy has just crashed through a bordello window on Little Red and her client, who's dressed as Little Red Riding Hood's Wolf in headmask and nightgown]
What do you think you're doin'?
I'm about to do to a couple of hoods what you're about to do to the congressman.
See more »
It's 1933 and in Kansas City, we follow that of Detective Murphy, as his partner has just been killed by some big-heads and he finds himself caught up in the web he has left behind. While, this is going on Lieutenant Speer also investigates, but when the two collide, there are some fireworks, as they have a work history together. But they have to put their differences aside, if they are going to get the job done.
Should I call this a disappointment, because the effortlessly shallow material just doesn't go hand-to-hand with the talent that was involved. This parody / drama on noir and tough-guy images is no more than a vehicle for the two stars, who just seem to be slumming it out here. It's not a bad film, because it's well made, but the story doesn't entirely hit any strides, it changes direction between spoof and drama with mixed results and it can be quite tedious in spots. All the accolades though, would have to go to the delightfully smooth Burt Reynolds in the role as the charismatic, smart-guy detective Murphy. His presence definitely overshadows Eastwood. But the colourful banter and always at odds attitude between the two, makes it a fun pairing up to watch, as they work off each rather nicely. Clint Eastwood, plays the straight-faced, no-bull Lieutenant Speer with his usual approach and sly humour. They both get some highly witty, top-notch lines. The supporting cast are satisfactory with the likes of Rip Torn, Jane Alexander, Irene Cara, Richard Roundtree and Robert Davi dusting in with a skew of personalities. While, they're worth better material, they all do the best with what they're given to work with. The feel of the 1930's has an artificial air about it here, as clearly you can't escape the back-lot sets. But still it's professionally catered for with a pleasant blues score and a dour colour scheme crafted in to get that glum, wet atmospheric night build-up of Kansas City. The direction of Richard Benjamin is quite standard, but it has some neat photography techniques of the period and a few flashy impulses, like one fine and exciting late-night shoot-out in a deserted street.
Nothing much out of the ordinary and very forgettable, but only the fans of two stars should really bother with this one.
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