Important in the evolution (or devolution) of Sylvester Stallone is Nighthawks. From ‘81, it falls in that post-Rocky burst when Sly was still considered a legitimate actor. Though Paradise Alley, F.I.S.T or Rocky II didn’t threaten Hoffman or De Niro’s place as America’s top actor-laureates, Sly hadn’t yet become the steroidy, sequely crap machine he would come to be known as (of course with some quality films like Rocky III, First Blood to come and later Cop Land, but with mostly junk between). Today Nighthawks feels like a gritty '70s cop film. (It was originally developed to be French Connection 3.) It’s taut, strong but not overly muscular, and moves at a fast pace that you don’t notice till it’s over. Frankly, one of the most interesting aspects here is that Stallone in Serpico mode (bearded with longish hair) often wears glasses (big, clear disco-era glasses), which is something rarely seen in an action hero and symbolizes how the film was a leftover from the more character-driven film days (the glorious '70s) before guys like Schwarzenegger (and Sly) made them into total cartoons. Sly’s cop even pines for his ex-wife (played by TV’s Bionic Woman, Lindsay Wagner). The guy is vulnerable, not always successful and flawed. Nighthawks represents the end of an era, not just for Stallone but for the realistic action hero.
Actor Rutger Hauer made a name for himself on the international circuit from his work with director Paul Verhoeven in Turkish Delight, Soldier of Orange, Katie Tippel and Spetters. Nighthawks would be his first American film, though not his first English language one. (Earlier he had appeared in the British flick The Wilby Conspiracy.) Word from the set is that he and Stallone clashed. (More reason to love him!) Here the Dutchman plays a Euro terrorist known as Wulfgar who, after wearing out his welcome abroad, heads for the States. Meanwhile, New York street detectives Deke DaSilva (Stallone) and his partner Matthew Fox (Billy Dee Williams, fresh from The Empire Strikes Back introducing him to audiences outside of black '70s cinema, where he was already a superstar leading man) are being transferred from their play-by-their-own-rules undercover decoy work to a terrorist unit, which is already on the lookout for Wulfgar. Knowing he’s a sucker for foxy dancing queens, in a subtly intense scene, the eagle-eyed Deke manages to spot Wulfgar through the crowd at a discotheque, despite him getting face-changing plastic surgery, which leads to an exciting Friedkin-esque foot chase through lower Manhattan. Wulfgar manages to finally escape with a nasty knife slash to Fox’s face, making things personal now for Deke. And the cock-blocking Deke pulled makes things equally personal for Wulfgar. The one-upmanship eventually leads to an exciting highjacking showdown on the Roosevelt Island Tram and a crazy cross-dressing twist ending.Continue Reading
With post-Vietnam War movies there is a “Vietnam Vet taking down his enemies” genre that would include the pulp biggies Taxi Driver, Billy Jack and First Blood, as well as pure vigilante exploitation films like Eye of the Tiger, Vigilante Force, The Exterminator, The Annihilators and Gordon’s War (not to be confused with the ‘Nam vets that appear as crazies in Targets, Black Sunday, Skyjacked and Earthquake or the zombie vets of Cannibal Apocalypse). Somewhere between pulp and vetploitation lays the very intense and violent Rolling Thunder. This was director Joe Flynn’s followup to his interesting crime thriller The Outfit. Paul Schrader (most famous for writing Taxi Driver and Raging Bull) wrote the screenplay though he claims it was reworked away from his original intention by credited co-writer Heywood Gould (Fort Apache the Bronx and Cocktail). Either way Rolling Thunder definitely carries Schrader’s signature theme of the lonely loner on a self-destructive path against society while seeking his own kind of redemption.
The film opens with Denny Brooks’ ballad “San Antone,” which was used similarly in The Ninth Configuration (he also sang the theme to the Chuck Norris choppy-socky Breaker! Breaker!). After spending years as POWs, Major Charles Rane (William Devane) and Sergeant Johnny Vohden (a very young and very intense Tommy Lee Jones) finally return home to Texas. Of course, we know from our film studies, going as far back as William Wyler’s WWII drama The Best Years of Our Lives, that returning vets have a tough time readjusting. And Rane is no different. His pretty wife Janet (Lisa Blake Richards of TV’s Dark Shadows) tries to help him ease back into civilian life, but he senses she has moved on (it’s obvious she has been involved with a local cop), and his son doesn’t even remember him. Rane suffers from PTSD and is emotionally distant, even turning down the advances of a young military groupie, Linda (Linda Haynes). The town tries to make him feel welcomed with a parade, a new car and over two grand in silver dollars (one for every day he was in captivity).Continue Reading
On a first peek the Golan/Globus produced Runaway Train looks like it could be a standard prison-break action flick, but further along the viewer realizes it’s much more.Though it has slam-bang action and some spectacular stunt work, it’s actually some kind of thought-provoking, oddly foreign feeling (meaning perhaps, intellectual) character study. Israeli cousins Menahem Golan and Yoram Globus' company Cannon Films made its name in the '80s with loud action movies like the Missing in Action flicks, the Sly Stallone steroidy Cobra, Breakin’ (and its sequel Breakin’ 2: Electric Boogaloo) and the unwarranted sequels to Death Wish (including the so-bad-it’s-good Death Wish 3). On paper Runaway Train should have been just more adrenaline-sploitation, but the back story alone led it in a direction that made it totally unique. It's based on a screenplay by Japanese filmmaking legend Akira Kurosawa (and his long time collaborators Hideo Oguni and Ryuzo Kikushima), who had been hoping to make it back in the late '60s. Instead veteran Russian director Andrey Konchalovskiy took it over, while Kurosawa got a “based on a screenplay by” credit and the final script credits went to the odd threesome of Djordje Milicevic (a Serb), Paul Zindel (famous for writing the play The Effect of Gamma Rays on Man-in-the-Moon Marigolds) and the very interesting Edward Bunker, who turned his own criminal life into a successful writing and acting career. (Books he wrote were adapted into the underrated movies Straight Time and Animal Factory, and as an actor he appeared in many films including Runaway Train. Most famously he played Mr. Blue in Reservoir Dogs. What a long strange trip it’s been, indeed.)
In a nasty, damp Alaskan prison, superstar criminal bank robber (Jon Voight) has won his state appeal. Warden Ranken (John P. Ryan) is forced to remove him from solitary confinement, where his cell was welded shut. He's a legendary badass and the prisoners are excited to have him back in the population, especially his brother, Jonah (Bunker) and a young boxer, Buck McGeehy (Eric Roberts) who's in on a statutory rape conviction and who takes hero worship to a new level. Manny wants to escape with his bro but when Ranken sends a killer after Manny, Jonah ends up getting messed up bad. So by default Manny hooks up with the annoying Buck instead. The two escape through a drain pipe and then make an impossible trek through a freezing Alaskan wasteland and eventually hop a freight train...home free. Somehow the train conductor dies and the train becomes a runaway, barreling through another train and making a deadly derailment the only possible option for the befuddled group of train dispatchers (C.K Carter, Kenneth McMillan and Kyle T. Heffner, the nerd from Flashdance). It turns out the train does have another passenger, a railroad worker named Sara (Rebecca De Mornay, a few years after her breakthrough in Risky Business, still looking for the role that should have taken her to the next level--something that unfortunately never quite happened for this talented actress).Continue Reading