Lincoln Hawk (Stallone) is a struggling trucker who arm wrestles on the side to make extra cash while trying to rebuild his life. After the death of his wife, he tries to make amends with ... See full summary »
Ray Tango and Gabriel Cash are narcotics detectives who, while both being extremely successful, can't stand each other. Crime Lord Yves Perret, furious at the loss of income that Tango and Cash have caused him, frames the two for murder. Caught with the murder weapon on the scene of the crime, the two have alibi. Thrown into prison with most of the criminals they helped convict, it appears that they are going to have to trust each other if they are to clear their names and catch the evil Perret. Written by
Murray Chapman <email@example.com>
The film's title during production was "The Set Up". See more »
Cash pulls the pin on the grenade and stuffs it down Requins' pants before shoving him down the stairs. Requin rolls down the stairs and hits the wall at the bottom and the grenade goes off. However, the actual explosion occurs on the stairs near the baseboard, about 6 feet from Requin. See more »
Sylvester Stallone has made a career of breaking out of prison in movies. He's busted out of jail/confinement in First Blood, Rambo II, Lock-Up, Demolition Man, Judge Dredd, and this 1989 "classic".
This time around Sly is wealthy Beverly Hills Cop (er...) Ray Tango, the second best cop in LA. Kurt Russell is Gabe Cash, a grubby, shaggy haired renegade who is also the second best cop in LA (depending on your perspective). Both of them are lured into a trap by evil criminal mastermind Yves Perret (Jack Palance, who is entertaining, but has nothing to do) a man who...um...runs a criminal empire? From a warehouse? In a quarry? On an old Air Force base? Perret and his business partners (exactly what this means and who these guys are is never properly explained they're bad guys because they're bad guys) are fed up with Tango and Cash/Cash and Tango spoiling their evil schemes and plot to have them framed and thrown into the worst prison imaginable. Any logical mastermind would just kill them but then we would not have a movie.
As a child I never understood this film. I was a smart kid and I was into complex movies well beyond my years. Yeah, I rented a lot of PG-rated stuff but I also consumed lots of grown-up movies. It was only when I was an adult that I realized the reason I didn't understand Tango & Cash was not that it was above me, but that it was BENEATH me. I wanted a serious adult's movie and instead I got a childish shoot-em-up.
That's not to say that it's all bad, Tango & Cash DOES have a strong set-up and a great middle act with the two of them breaking out of prison, but by the time the third act comes around it falls apart completely with a confusing monster truck demolition derby, driven by bad guys that come out of nowhere, while Jack Palance sits around watching it on a bank of CCTV monitors (operated by who, exactly?) despite the fact that he's obviously just looking at b-roll 35mm footage.
Director Andrei Konchalovskiy brings whatever coherence he can to the film under the insanity of producer/hairdresser Jon Peters. The film was in danger of never seeing the light of day after he was fired but editor Stuart Baird stepped in and stripped the film down the bare essentials, leaving a lot of plot excised. Maybe it's for the best, maybe it's for the worst.
All that remains is a promising, yet ultimately disappointing, 80s cheeseburger buddy cop movie with a snappy Harold Faltermeyer score, anamorphic photography with some frequently striking shots, brainless action, and a young Terri Hatcher as a stripper who shows neither her breasts nor her vagina.
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