San Francisco Inspector "Dirty" Harry Callahan must foil a terrorist organization made up of disgruntled Vietnam veterans. But this time, he's teamed with female partner Inspector Kate Moore, with whom he's not too excited to be working.
When a madman calling himself "the Scorpio Killer" menaces the city, tough as nails San Francisco Police Inspector "Dirty" Harry Callahan is assigned to track down and ferret out the crazed psychopath.
A hard but mediocre cop is assigned to escort a prostitute into custody from Las Vegas to Phoenix, so that she can testify in a mob trial. But a lot of people are literally betting that they won't make it into town alive.
Inspector Harry Callahan, or "Dirty Harry" as he is known from the previous four movies in this franchise, is investigating a strange betting game. A list of local celebrities has been handed out, and bets are being taken on who will be the first to die. Things start to get interesting when the name "Harry Callahan" appears on the list.Written by
Colin Tinto <firstname.lastname@example.org>
Around the 64 minute mark when a car is follow the jogging Callahan through the gateway and stopping to the inner yard, the film crew can be seen reflecting off the chrome bumper. The soon following shot of the two men getting out of the vehicle reveals a completely empty courtyard. See more »
This was altogether too simple for the critics back in '88 -- the whole idea was to point the barrel of the joke right back at the criticism.
Whereas the previous Dirty Harry features sat on a platform of utter contempt for bureaucrats and political correctness, here it's expanded to contempt for journalists, and especially the subspecies of 'media critics'. As if they couldn't make it clearer, a 'movie critic' is murdered, and treated as an occurrence of 'death of celebrities by threes'.
Yes, this is explicitly about movie making; the previous four movies suffered from poor supporting casts that only got in the way of the narrative. Here Van Horn deliberately employs good actors to play bad genre roles and thus turns the series on its head.
Along the way, we get a nice comment on "Bullitt", this time deflating the over touted car chase with a gag: an explosives laden model '63 Z06 (instead of a fastback Mustang, to drive home the point).
By this time, the .44 Magnum is treated as a character, with a 'voice' that rolls off the cityscape like thunder...the bad guys run at the mere sight of it. To put the icing on the 'man with the biggest gun' motif, Clint dispatches the villain with an earlier one liner ("you're S.O.L.") and a movie prop harpoon. The elaborate conflation of sexual double entendre, humor and cowboy justice went soaring over many heads. Arnold wishes he was half this funny in "Last Action Hero".
Ah, we miss Harry...but his retirement to Carmel was both serendipitous and necessary. By the end of this, he's killed off every cartoon bad guy left in the movie universe, paving the way for both the dimensional villains of "Die Hard" and its ilk, AND the hosannas bestowed on "Unforgiven".
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