After a long spate of bad luck, the little criminal Tony and his gang successfully rob one of Brink's security transports, taking $30,000. Surprisingly their coup doesn't make the press. ... See full summary »
Phil and Kate have a baby boy named Jake. They hire a baby-sitter, Camilla, to look after Jake and she becomes part of the family. The Sheridan's friend and neighbor, Ned, takes a liking to... See full summary »
A bright assistant D.A. investigates a gruesome hatchet murder and hides a clue he found at the crime scene. Under professional threats and an attempt on his life, he goes on heartbroken because evidence point to the woman he still loves.
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>
Friedkin filmed but did not include a scene in which Vukovich, nearing the breaking point prior to the final showdown with Masters, desperately tries to reconcile with his ex-wife. This deleted scene is found on the Special Edition DVD along with an interview with Friedkin, who says he doesn't remember why he cut it, and now regrets doing so. See more »
During the scene when Rick Masters demands his money back from Jeff for the botched hit on Cody in jail, Jeff says "I owe you one Cody". Although some viewers think that the line should read "I owe you one, Rick," Jeff's reference to Cody is not a script error; Jeff is merely saying that he owes Rick "one Cody" - that is, one dead Cody. See more »
They want me to have an operation, but I can't stand the thought of one of those prison butchers slicing me open. I'd rather drink this shit pink cement.
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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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