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Blue Steel (1989)

 -  Action | Crime | Drama  -  16 March 1990 (USA)
5.6
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Ratings: 5.6/10 from 7,954 users  
Reviews: 60 user | 38 critic

A female rookie in the police force engages in a cat and mouse game with a pistol wielding psychopath who becomes obsessed with her.

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Cast

Cast overview, first billed only:
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Tracy Perez (as Elizabeth Pena)
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Markus Flannagan ...
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Wife
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Mike Hodge ...
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Chris Walker ...
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Storyline

On her first day on the job, NYPD officer Megan Turner, the lone officer on the scene, shoots and kills the perpetrator of a supermarket hold-up. Since no gun was found on the perpetrator's person or at the scene and none of the witnesses could corroborate Megan's story definitively that the perpetrator was indeed wielding a gun, she is suspended from active duty. She is quickly albeit temporarily reinstated to the position of homicide detective because the spent shell casing from the bullet used in a subsequent murder had her name carved on it. This murder ends up being only the first in a series. Working on the case with fellow homicide detective Nick Mann, Megan initially has no idea who in her life could be the murderer. In short order, the murderer does show himself to her. He is commodities trader Eugene Hunt who she met immediately following her suspension and who she has since dated. He also implies to her that he was in the supermarket at the time of the hold-up and that he ... Written by Huggo

Plot Summary | Add Synopsis

Taglines:

For a rookie cop, there's one thing more dangerous than uncovering a killer's fantasy. Becoming it. See more »


Certificate:

R | See all certifications »

Parents Guide:

 »
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Details

Country:

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Release Date:

16 March 1990 (USA)  »

Also Known As:

Acero azul  »

Filming Locations:


Box Office

Gross:

$8,220,000 (USA)
 »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

Color:

(Technicolor)

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

Tom Sizemore's film debut. See more »

Goofs

The badge number on Megan's hat is different between the Supermarket scene and the final shootout beginning in the Subway. See more »

Quotes

Nick Mann: Y'know what I love about this city? You can throw a stick up in the air and it'll land on a taxi or an ambulance.
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Connections

References The Wizard of Oz (1939) See more »

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User Reviews

 
BLUE STEEL (Kathryn Bigelow, 1989) **
20 March 2010 | by (Naxxar, Malta) – See all my reviews

Before anyone starts including Kathryn Bigelow among the world's greatest living film-makers, it would be only fair to take a fresh (and, in my case, mostly preliminary) look at her past work; so far, only STRANGE DAYS (1995) has struck me as being worthy of some note (this was followed by her two successive efforts and I also intend to re-acquaint myself with NEAR DARK [1987], which I recall as having let me down somewhat, while her first two films are not readily available). To get to the title at hand, this easily proves her most by-the-numbers affair – which plays rather like the distaff version of DIRTY HARRY (1971) by way of FATAL ATTRACTION (1987)! Jamie Lee Curtis is quite good in the lead, a rookie cop suspended for her impulsiveness and subsequently adulated by a mysterious but clearly deranged serial killer; when she realizes who it is and, typically, it turns out to be someone too close for comfort, the heroine still cannot produce any physical evidence to nail him…so, in order to exact justice, she has to take the law into her own hands. Apart from the fact that Curtis and Ron Silver (a truly obnoxious baddie) have no chemistry, which kills the tragic potential of their relationship (though her subsequent liaison, inserted almost as an afterthought, with colleague Clancy Brown – unrecognizable from the imposing villain of HIGHLANDER [1986] – works rather better in this regard), the script includes a totally irrelevant subplot in which she has to contend with an awkward familial situation that sees her mother (Louise Fletcher) suffer repeatedly at the hands of a violence-prone husband she, i.e. Curtis, despises! Inevitably, the elaborate crowd-pleaser of an ending assumes the form of a catharsis for the heroine…but, when the level of plausibility within the entire film is about the same as that of a Tex Avery cartoon, one should not be too surprised if it fails to resonate!


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