“Buddy, you’re in the wrong place at the wrong time…”
|
Synopsis:
A Los Angeles secret agent (William L. Petersen) swears to avenge the death of his partner (Michael Greene) by capturing notorious counterfeiter Eric “Rick” Masters (Willem Dafoe).
|
|
Genres:
Review:
Few films define the 1980s as decisively as William Friedkin’s To Live and Die in L.A.: from its synthesized soundtrack to its outlandish fashion sensibilities, every aspect of the film evokes flashbacks to this notorious decade of questionable taste. Stylistic issues aside, however, the film remains a top-notch thriller, one which follows a familiar storyline trope — cop seeks revenge for his dead partner — but is executed with panache and skill. As noted below, Friedkin (ably assisted by cinematographer Robby Müller) makes excellent use of L.A.’s grittier environs, and the lengthy freeway car chase is a worthy follow-up to the infamous chase scene in his earlier cop classic, The French Connection (1971). Performance-wise, stage-actor Petersen isn’t all that charismatic or memorable in the lead role, but he does a fine job showing his character’s moral struggle; however, it’s Dafoe’s cold-hearted criminal who truly shines here, oozing greed and amorality at every turn.
Redeeming Qualities and Moments:
- Willem Dafoe as Petersen’s personal nemesis
- A fascinating glimpse at high-tech counterfeiting
- Excellent use of realistic L.A. cityscapes, streets, and alleys
- A truly exciting freeway car chase
- The “very ’80s” synthesized soundtrack by Wang Chung
Must See?
No, but it’s recommended.
Links:
|
Posted on February 1st, 2007 by admin
Filed under: Original Reviews
Director William Friedkin mixes aspects of his Oscar-winning ‘The French Connection’ with a touch of 1980s art-deco-’Miami Vice’-flash. Bringing a new depth into the ‘cops and robbers’ movie genre. The grittiness and realism that was shown in his earlier films proved to be popular at the time. But coming into the 1980s the formula was becoming a little stale.
The film concentrates more on the fine line between cops and robbers. Proving that they’re not that different and thus could have interchangeable roles. Plus, the added violence, sex (of the kinky-punk type), and the art house feel was brought in. The much discussed freeway chase scene is on par with Friedkin’s own ‘French Connection’ and McQueen’s ‘Bullit’. Stylistic score by ‘Wang Chung’.