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L.A. Heat (1989)

Not Rated | | Action | February 1989 (USA)
L.A. vice detective dreams of becoming a cowboy hero.


Joseph Merhi


Charles T. Kanganis (as Charles Kanganis), Lawrence Hilton-Jacobs (additional dialogue) (as Lawrence Hilton Jacobs)




Cast overview, first billed only:
Lawrence Hilton-Jacobs ... Jon Chance (as Lawrence Hilton Jacobs)
Jim Brown ... Captain
Kevin Benton ... Clarence
Myles Thoroughgood Myles Thoroughgood ... Spyder
Trish Johnson ... Jane (as Pat Johnson)
John Henry Richardson ... Boris (as Jay Richardson)
Robert Gallo ... Sylvio (as Bob Gallo)
Raymond Martino Raymond Martino ... Raymond
Joe Verroca Joe Verroca ... Bobby (as Joe Vance)
Gretchen Becker ... Tina
Jamie Baker Jamie Baker ... Bill
Pamela Dixon Pamela Dixon ... Mary
Crystal Dawn Crystal Dawn ... Mary's child
Renny Stroud Renny Stroud ... Rollo
Carl Augustus Carl Augustus ... Stick (as Carl C. Augustus)


Detective Jon Chance always dreamed of being a cowboy hero, living by the "code of the West." He always pictured himself as an exemplary hero who always felt that the use of guns was not a necessity. However, Chance needs to stop dreaming. He must return back to reality! Chance's assignment (and he has no choice but to accept it) is to capture this mean faced drug dealer called Clarence. This assignment has escalated into a personal vendetta for this vice detective when Chance's partner, Carl is murdered by this nefarious drug dealer during a routine drug bust. A drug war will soon ensue between Clarence, who is trying to retrieve his drugs and money, and the police... Written by David Choi <KDaDDyChOi@aol.com>

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Not Rated | See all certifications »

Did You Know?


Followed by Angels of the City (1989) See more »


We've Got to Stand Together
Music & Lyrics by Adrienne Miller, Roger Heath, John Gonzalez
Sung by Adrienne Miller
Produced by John Gonzalez
Recorded at Spartan Productions
See more »

User Reviews

Words fail me
18 July 2005 | by yousrekhSee all my reviews

Ill keep this short; writing about stuff like this really makes me realise to what extent the English language is limited.

From concept to post-production, this film is flawless. The direction and, specifically, the editing of the piece show years of creative experience in the field. Laurence Hilton-Jacobs returns to the screen with a proto-naturalistic approach to the portrayal of a broken man living in a world which does not appreciate him. The beauty of this is that it seems to reflect the life of Merhi so far. His unique style when directing his works has not always been accepted by an audience of which the majority are used to much more mainstream, commercial films.

The overall 'feel' of the film is of perfection and finesse. It maintains this finish while keeping its art-house status and evading the glossy overcoat which is becoming more and more popularly associated with the industry in America. Over the years I've familiarised myself with the abstract writing style of Kanganis, and it has become a little habit of mine to expect these little surprises that he has for us with each release. The reflection mentioned above seems to have come about naturally; the troubled mind of Merhi and artistic aptitude of Kanganis come together to bring the film together with a fine-tuned taste, but not pretentiousness, and to end it with such a gritty climax as it does.

Merhi is an overwrought genius whose presentation, when grouped with the textual gold of Kanganis' script and the on screen presence of Hilton-Jacobs of such charm and without antecedence is, frankly, magical.

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Release Date:

February 1989 (USA) See more »

Also Known As:

C.O.P.S. Die Bullen von L.A. See more »


Box Office


$175,000 (estimated)
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Company Credits

Production Co:

PM Entertainment Group See more »
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Technical Specs


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