Movies that are slightly off.
These Are The Armies Of The Night........
Prominent gang leader Cyrus calls a meeting of New York's gangs to set aside their turf wars and take over the city. At the meeting, a rival leader kills Cyrus, but a Coney Island gang called the Warriors is wrongly blamed for Cyrus' death. Before you know it, the cops and every gangbanger in town is hot on the Warriors' trail.
The Warriors are a street gang of total badasses. They don't take any shit and they fight with their fists and not guns. When they are framed for the murder of a street legend they must use all their wits to survive the night in this Walter Hill cult classic. The Wonder Wheel. The way the Warriors look in their vests. Purple pimps. Mimes? Cyrus the Prophet. Gangbanger summit. Gun pass. Assassination. Strobe lights. False blame. Power struggle. Graveyard graffiti tagging. Radio message. Boombox. Distant cousins of Baseball Bat Guy from The Raid 2. James Remar's dirty mouth. Five Finger Discount. Lazy eye. The Orphans. Chicken shit. Warrior groupie. Cochise's war bonnet. Vermin's chest hair. Subway smushed. Home run swing.…
Dystopian West Side Story without the musical numbers.
The Warriors aren't "warriors" (nothing about a red vest represents "warriors") as much as adolescent symbols of macho masculinity (bare-chested boys pretending to be men). Childish male wish fulfillment of a fantasy world without parents that sympathizes with its often unsympathetic juveniles even as they get distracted by every hormonal impulse from vandalism to womanizing.
More successful as an Escape from New York prequel than an allegory for international politics; the "turf" metaphor functions instead as a blanket signifier for community and family ("getting home"). Triumph of style in production design (costume) and editing (cartoonish transitions even without Director’s Cut add-ons).
Junesploitation: Day 24 – Teenagers!
There are movies that are undeniably seventies. This may just have scraped into that decade back in 1979 but Walter Hill's tale of Coney Island gang, The Warriors, is as seventies and as cult as you can get.
The premise for this film was pretty simple. Nine unarmed gang members are summoned to a summit where the leader of the biggest most powerful gang in the city offers a truce and an alliance for the gangs to take over the city. As the shit hits the fan and the leader Cyrus is gunned down, the blame is mistakenly put on The Warriors who then have to fight their way across the city and back to safety on their own turf.…
I posed the question last night on Twitter, "Which gang in The Warriors would you like to be in?"
The Baseball Furies seemed fairly popular among the two people that read my tweet. I said I wanted to be a Turnbull AC but due to being a wimp and generally a bit slow and stupid I'm probably a fucking Orphan. I've got better jeans than The Orphans though so I might just get away with it. I think the only way that you could improve The Warriors is by making more of the gangs have a gimmick.
The Baseball Furies are obvious with theirs and The Punks have their rollerskates, just like a good punk should. The Satans Mothers also…
"Can you count, suckahs?"
The Warriors is simply one of the coolest films ever made. Everything about this film breathes complete fucking coolness. It's not the smartest film ever made but I love it so much and is definitely in my top ten. My favourite gang film and that's saying something in such a great genre.
Walter Hill's "The Warriors" does not have much going on narratively. The 1979 cult favorite about warring gangs follows one maligned group of ruffians as it works its way home after an ill-fated summit. There is very little character development, exposition, mythology, or politics; just, simply, the so-called Warriors attempting to make it back to Coney Island without casualty as other gangs hunt them down. The film's lack of narrative substance does not take away from its entertainment value, but it does make the experience mostly flash and little else.
Hill assembles a solid cast to go with his inky, urban style, and that cast helps punctuate the minor wrinkles in the plot. Those wrinkles do not give an audience…
-mercy is great. a significant cut above the average female characterization of its time
It's been a decade (or more) since I last saw Walter Hill's unique late-'70s/early-'80s New York time capsule, and even after so long it's cultivated massive individuality and vitality that only a handful of classics have been able to maintain. It more than makes up for its lack of a substantial narrative with the sheer badassery of its characters; a brilliant, linear, video-game-style path toward 'boss battles'; and a sense of effortless cool that's hard to encapsulate anyway, but harder still when the cast (probably) edges into triple-figures.
It's exactly what I love about this era of cinema; its aloofness, untroubled attitude to give any shits is befitting of most of the gangs, and that's partly why The Warriors has…
dystopian urban life meets 1970s modern day gangs. i love it
Cuantísima heterosexualidad. Es una película tan tan tan tan tan pero tan heterosexual que acaba dando la vuelta y llegando a tener su puntito homosexual. "Una película sobre MACHOS musculados a pecho descubierto que solo se tienen entre ellos. Un poquito gay sí que es" dice un amigo. Pues mira, básicamente a eso me refería.
Tiene sus hallazgos y virtudes que la salvan de convertirse en una cinta ridícula y terriblemente mal envejecida (lo que por aquel entonces «molaba» yo creo que a estas alturas da un poco de risa) entre las que destacan la estética, el estilito de Walter Hill (que torpe desde luego no era) y el halo de película de culto que la envuelve y la convierte en una obra cuando menos interesante.
Eso sí, joder, cuánta heterosexualidad, de verdad.
Que tu película favorita tenga casi cuarenta años y tengas la oportunidad de verla en óptimas condiciones en una sala de cine no tiene precio, y muy probablemente suceda sólo una vez en la vida.
No me cansaré de ensalzar el trabajo de Hill. Sus constantes conexiones con la mitología, esa lectura sociopolítica de una Nueva York cuasi-distópica heredada de la crisis que Ford y Carter no supieron solventar, y el toque emocional otorgado por la búsqueda de un futuro mejor y la voluntad de cambio y escape de sus protagonistas, no hacen más que engrandecer aún más si cabe este fantástico carrusel visual reconvertido en clásico de culto.
lets get into fights and cool outfits
Could have more plot and smart dialogues. And the final showdown is disapointting. But... still a true cult classic full of style with a killer soundtrack.
Really dig this movie but this is the first time I've seen it in about 7/8 years.
Am I the only one that's troubled by the treatment of women in this...? I didn't remember Swan, Cochise, etc being such dicks.
bend me over
Lads and ladies, dads and babies, put ya hands in the air and rejoice because your lord and saviour Max…
The wikipedia entry on Exploitation cinema is a bit hit and miss. Some films are nicely representative of their exploitation…