All the films from all the editions, including those subsequently removed, presently totalling 1154. An easy way of seeing how…
King of New York
Not everyone who runs a city is elected.
A former drug lord returns from prison determined to wipe out all his competition and distribute the profits of his operations to New York's poor and lower classes in this stylish and ultra violent modern twist on Robin Hood.
You could imagine during production that Abel Ferrara must have felt that his stylized neon saturated gangster film, complete with his biggest budget thus far, may prove to be his most mainstream and accessible feature, harking back as it did to the similar celluloid criminal mayhem that James Cagney would feature in in earlier days.
But upon its release in 1990, critics and audiences alike didn't see it that way at all. They gave it a resounding thumbs down, whilst some even booed the cast at screenings and demanded the profit went to drug rehab programmes in the titular city. Such reactions only further served the notoriety of Ferrara as an enfant terrible of American indie cinema scene. And so…
Ferrara gets a budget and makes a meandering B-grade gangster flick with A-grade style. An irresponsible portrait of irresponsibility. Or so it seems: is this really just a coked-up cliché rolling in a pile of cash, indulging in its genre with sneering crassness, or is it exploiting these tropes in an effort to say something meaningful? It's tough to say, and the real pleasure of this film lies in its coarse complexity and the way it withholds easy identification with any of its characters. The final act does veer away from the decadence and corruption to go out on a more operatic note, but Ferrara would be thoroughly shown up by De Palma with Carlito's Way just a few years later. Still, it's just "off" enough to make for a compelling watch.
Dark and gritty and sleazy in that way Abel Ferrara has perfected up to this point, KING OF NEW YORK features Christopher Walken at the peak of his acting powers, calling the shots and taking out his rivals. Ferrara flips the tables though, as a lot of Walken's violence seems strangely justified, like a robin hood gangster with a heart of gold. That doesn't prevent cop David Caruso (in a possibly Boston accent) from hating his ever-loving guts though. Despite a great performance from Laurence Fishburne, including some great toe-to-toe scenes with Wesley Snipes, I feel like his performance was the one thing holding the movie back. In most of the early and middle portions of the movie, he lays…
One of Walken's last true starring roles, King Of New York is as gritty as a gangster movie gets and is also something of a modern rendering of the Robin Hood legend. It may sometimes seem a little shapeless and meandering but it is compelling nonetheless.
Christopher Walken kicks arse in a nice looking mafia thriller, that when not busy being unbusy and sluggishly paced, is occupied with niftily playing with the audience through cinematography or plain and simply being awesome.
Gotta miss old school blood. That splatter. CGI blood is an atrocity to action films. It just looks so awesome, and there's so much blood spilt here in 1990's New York. Lawrence Fishburne helps, he also gets a handful of pussy, but no chicken, (makes sense if you've seen it). Steve Buscemi makes an appearance and promptly leaves. Wesley Snipes is usual badass. Victor Argo is full of pathos.
The whole cast really makes this film. The story was rather stale and the characters not…
"I don't need forever"
oh my god
I did not like this movie. All the minorities are stereotyped to the point where it can be seen as a parody. Hip Hop was just becoming popular (in the mainstream) and the film thought it would take full advantage of it even if it was not for the betterment of the film. The music choices are horrible and the story jumps around to where its confusing and you end up not caring what its about. Christopher Walken is fun to watch as an evil kingpin but it is not nearly enough to save it.
“Justice? -- You get justice in the next world. In this one you have the law.”
Interesting seeing a cast this wide in variety (Walken, Fishburne, Snipes, Buscemi) so young. Worth a view.
Better than Scarface.
Christopher Walken plays the perfect mobster with big dreams for his city. But as always, New York always ends up chewing you up and spitting you out.
There are definitely flaws with this film and the ending is far too predictable. BUT, things to consider: Christopher Walken dancing. Christopher Walken being a badass. Christopher Walken being a killer. A LOT of topless women. A lot of coke. A lot of low budget shooting scenes. A prolonged car chase. Betrayal. Revenge. Police corruption. More coke. And some more boobs.
Great little gangster flick.
Sleekly made featuring an impossibly cool Christopher Walken, this seems like a precursor to the apocalypse that is Public Enemies in that it's a deconstruction of America in a particularly vicious manner. I don't really know why anyone makes action movies in the current day like Battle L.A. or the latest Marvel movie to excite their viewers with bombastic action and boringly turned up bass, horribly cut, indifferent as to the implications, when Ferrara made this decades ago and beat them all that game. These are characters who slink around in the dark, and then under streetlight or a dodgy poker table, in vacuous subway cars, erupt into beasts. Not only is it vampirism that Walken clearly does embody--he doesn't walk, he seems to glide, but also Dr. Jeykll and the Werewolf. Talbot: continuing one's life when it clearly destroys everyone else around him. Jeykll: the suggestion of sub-conscious desires being realized by submission to otherworldly powers and status.
So much of the entertainment from this pulpy Robin Hood redux comes from seeing the New York of 25 years ago, on the eve of Giuliani.
Lurid, garish, scummy and swoony, with fuzzy racial dynamics and a kick ass late 80s hip-hop soundtrack - just like 1990 NYC.
I watched this movie because I liked the title and because I read this on the Wikipedia page:
"During the film's premiere at the New York Film Festival, many members of the audience including Ferrara's wife walked out of the theater. At the question-and-answer session that Ferrara held after the screening, the first question asked was, "This film is an abomination. Why aren't you giving the proceeds to some drug rehab program?" At a second showing of the film the next day, Larry Fishburne and Nicholas St. John were booed off the stage."
Sounds like the movie for me, I thought. I really liked Bad Lieutenant too, which Abel Ferrara also directed.
This movie excels at really horrible over the…
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