Two New York cops get involved in a gang war between members of the Yakuza, the Japanese Mafia. They arrest one of their killers and are ordered to escort him back to Japan. In Japan, ... See full summary »
Two cops in Los Angeles try to track down the vicious criminal Eric Masters. Then, one of them is killed by Masters and the other one swears revenge no matter what the cost. After that, the hunt becomes an ob- session and the law he once swore to uphold becomes meaningless to him. Written by
Harald Mayr <firstname.lastname@example.org>
A year after the film came out, John Pankow met an undercover NYPD cop in a coffee shop who told John that his panicking during the highway chase scene was a completely accurate and realistic response to such a situation. See more »
At conclusion of chase a dark brown van with a multicolor horizontal stripe is part of the gridlock but as agents drive away the van is seen approaching on opposite lanes. See more »
Now look, my man. I told you I don't have what you're lokking for, So why don't you make it easy on yourself...
[draws a knife on Masters]
and just shag your ass out of my crib! Now you be a printer! Go get some ink, ant start printin' some more of that shit!
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When Friedkin went "back on the streets" in 1985 to make TO LIVE AND DIE IN L.A., he made a classic that will endure and that perfectly captures its 80's milieu.
I don't understand these idiots who complain how a film is "dated" by its music. Of course a film is "dated" by its specific elements, but so what. This superb film, which has an amazingly kinetic Wang Cheung score, is about a time (the mid-eighties) and place (L.A.) that is now history, and it is a punishing document.
The film works on many levels. Yes, it is about counterfeiting and superficial (re: counterfeit) relationships. It is about greed, survival, justice and morality. It is also about human beings using and laying to waste other human beings.
These powerful ingredients weave their way through a police procedural/action thriller plot that never stops to catch its breath and is pure cinema.
Willem Dafoe is totally engrossing as the film's villain, while William Peterson delivers a highly focused, tough turn. Dean Stockwell is also a stand-out as a crook lawyer and real cop Jack Hoar is quietly spectacular as Dafoe's mule.
And the film boasts one unbelievable car chase that has not been equaled since.
But LIVE AND DIE is also a film that expertly marries the visual to the aural and depicts a part of Southern California that has not been so credibly depicted before.
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