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 <email@example.com>
The prison scenes were shot in the San Luis Obispo Penitentiary and real prison inmates were used as extras. See more »
Jim Hart arrives at Lancaster early morning to stake-out Rick Master's warehouse. As he scans the area through binoculars he is visibly affected by the bitter cold. Once Jim jumps over the fence, Rick Master is seen hiding inside the empty trailer. Suggesting that Rick must have anticipated Jim Harts arrival and spent considerable time waiting in ambush, possibly through an entire night in bitter cold. See more »
Eric 'Rick' Masters:
Everybody knows Rick Masters won't go near a job without front money. You should also know that I never fucked a customer out of his front money. I've been coming to this gym three or four times a week for five years. I'm an easy man to find. My reputation speaks for itself. The fact is that if you can't come up with the front money you're not for real.
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One of the very best films of the 1980s this was shamefully neglected and misunderstood by the critics. The problem is: on the surface it's just like an ordinary action crime thriller (and thus won't appeal to the arthouse crowd), except that it makes it difficult to identify yourself with any of the characters. In other words: it violates its genre rules. But this very fact makes it so unpredictable and thrilling, and a proper movie as opposed to a mere genre clone.
The good guys are flawed. This isn't really new, since the mid 1960s there were plenty of flawed heroes in Westerns or police thrillers. The difference is that not only their characters are flawed, they are vulnerable, destructible, they make mistakes. And they pay for their mistakes. Similarly the villains: yes, they are formidable and glamorous, but they are not in the league of the Blofelds or Sentenzas of moviedom. They make mistakes too. And they pay too.
A surprising asset is the film music by Wang Chung, a one-hit-wonder pop obscurity of the era. Their sound perfectly melts with the cinematography, especially in the stylish opening sequence.
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