I FUCKING LOVE COLOURING
The strong arm of the law.
A tough-on-crime street cop must protect the only surviving witness to a strange murderous cult with far reaching plans.
This is why you should give this film a pass:
- cutting pizza with scissors
- 'This is where the law ends and I start...........sucker!'
- Matchstick toothpick.
- Dennis Leary once said he wanted a cheese helmet so he could put it on and eat cheese the entire day. This is that.
- There is no plot. This is a good thing.
- Lots of A-team violence.
Brigitte Nielsen is awful. It's like watching an East European shot put athlete trying to act.
This is where the law stops and I start - sucka!
I probably enjoyed this a lot more than I should've done, but hell,
this was awesome! I was hoping for some good ol' 80's action, and indeed, I got some. Even Sly's number plate is AWESOM 50. I mean come on, how cheesy can you get? It's just full of stupidly hilarious little things like that which help me to like it that bit more.
Sly Stallone plays Cobra, a tough as nails cop who has to protect a witness to a murder committed by a mysterious cult. Well the plot was quite hard to follow because I couldn't tell what Sly was saying at any point.…
Without any irony or that "aware of how silly it is" quality people for some goddamn reason champion in action movies these days, this Sylvester Stallone penned thriller hurls a big sleazeball of post-Dirty Harry fascism at your eyeballs faster than you can say MTV. I would argue that Cannon Films generally, and this film in particular, represent the nexus of low brow exploitation and slick Hollywood spectacle (and perhaps its apex too). This is a nasty and mean piece of work, that, though never overtly graphic, feels as grimy and ludicrous as some of the stuff that played on 42nd Street in the decade prior. It's all coated in a sheen of style from director George P. Cosmatos and…
I want to give this 5 stars, but I feel that might be too dishonest (or perhaps it's a new level of honesty I'm not ready to admit yet). Takes the DIRTY HARRY ethos to its logical confusion, as senseless violence begats senseless police work amidst a war-torn wasteland rife with product placement. Although pretty ahead of its time for having a climactic factory shootout years before either ROBOCOP or TERMINATOR 2. The movie tips its allegiances, however, by showing a Pepsi sign obliterated by a shotgun blast while a hero cop enjoys a refreshing Coca-Cola Classic™.
Bonus: This is a Christmas movie!
“You're the disease, and I'm the cure.”
- Marion Cobretti
George P. Cosmatos' Cobra is a badly-edited, over-the-top, ultra-violent ride built around the strange, magnetic aura of Sylvester Stallone. The film opens with a pulsating standoff inside a supermarket, I was immensely enthralled with engaging suspense and rapid fire action- you know it’s going to be an adrenaline-pumping experience. Cobra's violence is strong, especially in its hard-boiled climax- it's cold-blooded, stylish, and overly relentless.
Cobra centers a tough-on-crime policeman who investigates series of murders tied to a mysterious serial killer nicknamed Night Slasher. After a young model survives one of Slasher's attacks, our tough, ass-kicking policeman decides to personally assume her security, and wipe-out the murderous cult. The film plays…
COBRA is certainly a unique experience. Nothing about it makes any sense, and right from the beginning the tone is set as something surreal, bordering on science fiction. It's mean as hell and the strange camera angles turn it into a kind of dirty nightmare. If Stallone was wilder it would have resembled a comic book, instead his deadpan manner turns him into a charming little Terminator. There is no real villain, only a vague army of murderous psychopaths, making the story into a paranoid vision of our society. If you've ever wondered what it's like to have social anxiety this is pretty close - Cobra is too busy battling this endless stream of faceless monsters to have an actual…
George must have let his son Panos watch this at an impressionable age, because the influence this '80s fever dream had on the sensibilities that resulted in Beyond the Black Rainbow strikes me as glaringly obvious. It's awful, and really kinda awesome.
The film Stallone wanted made in hopes that it would become the new Dirty Harry franchise. However, it doesn't have the subtlety Dirty Harry has. This is full out in your face with its intentions and messages. This is nothing special, i mean dialogue can be fucking atrocious, product placement is blatantly fucking obvious, and its riddled with bad one liners and cliches... But fuck me... it has something. Its fun. It has a brilliant 80's soundtrack. Its funny (albeit unintentionally). The action sequences are actually the only fucking solid thing this movie has going for it. They're genuinely really good, and the car chase scene is inTENSE!!! Anyway to sum up, it didn't become a franchise. But for what it is, its eject your brain, and take in the silliness type shit. With, like i say, near perfect action sequences.
One of the most gleefully ridiculous and over the top action films of the 80s and one of my favourite Stallone films. Everything here is ridiculously hyperstylized and captures the essence of exploitation cinema and trashy comic books within the context of a relatively large budget for it's time.
truth bomb for you folks this is tied with jingle all the way for the best christmas movie ever.
Is it me or during the opening supermarket scene does the gunman have a soul patch on his chin when he walks in that disappears by the time Cobra arrives on the scene?
While this is a Warner Brothers release, this is very much a Cannon films production. Cosmatos directing, Golan-Globus producing and it has that Cannon "feel". It's a sleazy b-movie that wants to be a franchise.
The main character wields his remote control like a gun, he puts his used newspapers in the barbecue and he is a crack shot, in the dark, wearing sunglasses.
Meanwhile there is a nasty murder cult knocking about, seemingly killing at random.
These two parties collide, mashing up the eighties cool maverick cop and the eighties sleazy slashers.
It does, for the most part, work. The Cannon chaps knew how to do this stuff, it's ridiculous, but done with a style that says, "we're daft and we don't care".
They don't make them like this anymore, which is a little bit sad really.
Starting out like a bad Miami Vice ripoff. There are even some guys listening to Miami Sound Machine outside Cobra's apartment. There's no confusing this terrible editing and dodgy camera work with Michael Mann though.
The questionable look and feel is nothing compared to the weird dialogue. Did buddy cops and one-liners not exist in 1986? There are so many scenes where they set up banter that should lead to a snappy one-liner and then it just fizzles out with normal conversation. At one point Sly even uses a prop to deliver a joke without actually delivering the joke. Perhaps it's all by design to show a more gritty side of the genre, but the wacky story does not support any realism.
It is a nice tour of L.A. and its surroundings though, with some wild car chases and pretty cityscape backgrounds.
Well at least I guess this is an uncut version unlike the swedish VHS I have in my collection.
Thought id seen this, but i guess not, it runs well, typical 80s action things going on with ridiculas Montages, but fun to watch.
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