"The Driver" is a specialist in a rare business: he drives getaway cars in robberies. His exceptional talent prevented him from being caught yet. After another successful flight from the ... See full summary »
Johnny Handsome is a deformed gangster who plans a successful robbery with a friend of his, Mikey Chalmette, and another couple (Sunny Boid and Rafe Garrett). During the heist, Johnny and ... See full summary »
In the depression, Chaney, a strong silent streetfighter, joins with Speed, a promoter of no-holds-barred street boxing bouts. They go to New Orleans where Speed borrows money to set up ... See full summary »
A squad of National Guards on an isolated weekend exercise in the Louisiana swamp must fight for their lives when they anger local Cajuns by stealing their canoes. Without live ammunition ... See full summary »
Two Arkansas firemen, Vince and Don, get hold of a map that leads to a cache of stolen gold in an abandoned factory in East St. Louis. What they don't know is that the factory is in the ... See full summary »
In 1979 a charismatic leader summons the street gangs of New York City in a bid to take it over. When he is killed, The Warriors are falsely blamed and now must fight their way home while every other gang is hunting them down to kill them.
Rock and Roll singer is taken captive by a motorcycle gang in a strange world that seems to be a cross of the 1950's and the present or future. Her ex-boyfriend returns to town and to find her missing and goes to her rescue. Written by
K. Rose <firstname.lastname@example.org>
Walter Hill, whose fine directorial achievements include "Hard Times", "The Warriors", "Southern Comfort", "Crossroads", "Johnny Handsome" and "Extreme Prejudice", scored another creative bullseye with this self-proclaimed "rock and roll fable". Though it is simplistic in the extreme, it is an extraordinarily kinetic work with great music, stunning cinematography, cutting edge editing (from Hill regular Freeman Davies) and fantastic production design.
From a purely visual perspective, it was way ahead of its time, and like most things that were ahead of their time, it flopped badly (at the box office). So much of the film is worthy of praise -- the opening credit sequence employs a bravura graphic technique that has been much imitated; the kidnapping of Ellen Aim (Diane Lane) is a stunningly staged sequence, as is Lane's mimed rendition of Jim Steinman's fabulous "Tonight Is What It Means To Be Young". The climactic fight sequence between Michael Pare and Willem Dafoe (in one of his first screen roles) is magical, as are all the film's scenes of physical combat.
Hill makes mean, lean, muscular movies and populates them with both fresh faces and screen vets. Michael Pare, who had a limited career, is just fine as the mythical Tom Cody, the film's reluctant hero (is there any other?). Dafoe shines as Raven Shaddock, the lead of the kidnappers, and the MIA Amy Madigan is just terrific as the tough-talking McCoy, Pare's feisty sidekick.
Andrew Laszlo, who worked with Hill on "Southern Comfort" and even shot Tobe Hooper's "The Funhouse", does a knockout job with the cinematography and, working with ace production designer John Vallone (another Hill reg) creates a magnificent retro universe on the Universal backlot.
Not to be missed!
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