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.
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!
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…
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…
Schwarzenegger rueda Commando? Pues yo adapto una novelucha y me casco un Sly con ecos de slasher, producción de la Cannon y Brigitte Nielsen con 22 años.
Vaya pelazo, Cobretti.
The 80s where the year of cheesy action movies, and Cobra is definitelly one of my favorite, but I'll just have to apologize to all of you english speakers, because you'll never now the ultimate cheesyness level of portuguese dubbing for this movie. They've made such a ridiculous job that made it become an iconic piece of art, hilarious and tremendously badass. It's so great that I've seen it three times already if I'm not wrong, and not a single one of them with the original audio.
I just can't rate it normally, so I'll give it five stars, representing the amount of fun I always have watching it.
In a typically wrong-headed review, Pauline Kael said of 2001 that it was "trash masquerading as art." Defenders of George P. Cosmatos's COBRA often claim that it's art masquerading as trash. That seems equally wrong-headed. Terrible acting across the board, atonal dialogue (where Stallone trots out some groan-inducing jokes while trying to seduce Nielsen), and hoary cop-movie cliches (the actions of the corrupt mole cop are so insipid you wonder how she ties her shoes) pretty much sink this, although Cosmatos manages to drench the visuals with enough style that it remains watchable despite being B-grade all the way. Best part is Stallone cutting his pizza with scissors.
A tough-on-crime street cop must protect the only surviving witness to a strange murderous cult with far reaching plans. - IMDB
You ever wanted to see an un-ironic take on the action film from the 80's? Feast you're eyes on this little gem from Sylvester Stallone. It's quite amazing what they made here and you can just tell that they thought that they we onto a winner. In some ways it was (Box Office) but other's it was a disaster.
It's jam packed full of gratuitous action and cheesy one-liners throughout it's duration. I think that Stallone had his hands all over it and you'd say that the reason, but he's been so hands on with a bunch of his…
Cobra doesn't play by the rules, that is, if you live in a conservative's crazy fever dream where a police officer is breaking the rules when he shoots a man who (1) has killed several people minutes earlier, (2) is holding hostages, (3) is clearly stating his intentions to kill these hostages, and (4) is pointing his gun at the police officer. Of all the action movies that use "soft on crime" straw-men to criticize liberals, this may be the clearest example.
There's also the frighteningly sadistic closing scene, in which an officer suggests there would have been more subtle ways to deal with the main villain than burning him alive, and we're meant to cheer for Cobra as he…
Cobra (George P. Cosmatos)
1)The movie was based on a book which was called Fair Game , which was again remade in 1995 which the movie was called Fair Game and starred William Baldwin and Cindy Crawford
2)When Sly left Beverley Hills Cop all the ideas he had for that film he used for Cobra , the way he played Cobra is his way he wanted to play Axel in his version of Beverley Hills Cop.
3)The original cut of the movie was 2hrs long , there is a rare work print of this doing the rounds.
4)Most of what was cut was X rated violence , the word is that with the success of Top Gun , Sly and…
A fun blast from the 80s, but very slight. It's interesting to see Stallone's take on the Dirty Harry archetype, and everything is louder, shinier, shallower and more extreme in this take - but it's not better.
"This is where the law stops and I start...suckah."
From my (very) short-lived Cannon Films blog:
Cobra is the action movie equivalent of a Brian Eno composition; it demands very little of you yet somehow manages to remain completely enthralling from beginning to end. Much like Eno’s ambient soundscapes, Cobra demands so little of its audience that in my opinion a viewer doesn’t even have to actually watch the movie to have really seen it. I’m not even sure if I just watched it, yet I vaguely recall spending the last eighty-seven minutes in a neon-soaked, Coors-drenched world with some dude named Marion ‘Cobra’ Cobretti.
If this minimalist, no-attention-required approach is embodied in any single element in Cobra, then it is surely in its namesake character. Cobra, played by…
Okay, so no one would watch this thinking they were in for Shakespeare, but be clear it's worse than you'd think.
Generic 80s pyrotechnic action flick, but it's weakened by a particularly weak script. Noteworthy especially are the two-dimensional antagonists that serve as no more than paper tigers for Sly to knock down.
Enough time on this stinker. I'm out.
Known as the essence of 80's action cinema. For me it's more like a horror-thriller with cool stallone anti-hero in it. It pairs cult horror maniac with rambo in the city. I love it!
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