recommend shit to me, please! esp. little known sleazy stuff
To Live and Die in L.A.
A federal agent is dead. A killer is loose. And the City of Angels is about to explode.
In director William Friedkin's supercharged thriller, William L. Petersen plays a "hot dog" special agent of the Secret Service who's out to arrest and convict an arrogant counterfeiter (William Dafoe) who has eluded the law for years and who flaunts his success. Dafoe has been asking for a down payment on a sale of bogus bills, but the amount is larger than the secret can authorize Petersen, undercover, to pay to entrap Dafoe in a "sting" operation. Petersen is forced to set up a dangerous plan to steal the advance money from another crook (John Turturro) and use it to buy bogus bills and bust the counterfeiter.As the film winds to its dark and exciting resolution, the distinction between the pursuing law enforcers and the pursued criminals will continue to blur.
"Guess what? Uncle Sam don't give a shit about your expenses. You want bread, fuck a baker."
Removed from the partnering of the other stylish cop picture featuring William Petersen (Manhunter) and whatever feeling you have about Wang Chung (it's probably wrong), this sleaze jam is as deserving of the praise now being bestowed on the first film in tonight's Friedkin double bill: Sorcerer.
Friedkin's continual fascination of the internal struggle between good & evil roars through the grimy & steamy haze of Los Angeles. Petersen's Richard Chance is a thrill junkie, stretching each case, bust, and interpersonal relationship to a breaking point; his nemesis, Willem Dafoe's Rick Masters is an icy artist/counterfeiter who never makes a false move. The image of…
Decades Project: 2/8 of the 80's
"You're working for me now."
Los Angeles. They call it the city of angels, but when dedication turns into obsession the angels protecting the city from its demons begin to look like demons themselves. Richard Chance will do anything it takes to catch the criminal counterfeiter responsible for the death of his last partner—even if it means stealing the money he needs and becoming a criminal himself.
Impeccably minimalist photography (wide angle, long take) from Robby Muller, who would go on to work regularly with greats like Jim Jarmusch, Lars Von Trier, and Wim Wenders. Meticulously crafted montages (evocative cuts, artistic arrangements) which drive the action forward and highlight the contrast between cop and…
Wang Chung: a Chinese expression roughly translating to, "Impose your nihilistic world-view on a cliché-ridden 80s law enforcement procedural, punch-it up with shocking, arthouse cutting and artful use of sound."
Dafoe: Belgian-Congolese for "the foe"
William Petersen: who's he again?
Friedkin car chases > other car chases, because in a Friedkin film everyone's already careening wildly toward death; cars let them do it even faster.
Petersen's inability to play a stone-cold badass makes his psychosis even more alarming,
the more ridiculous parts of the soundtrack make this feel even more creepy (rather than laughable),
I was thinking i'd give this 3.5 or 4 stars because some of the editing (especially in the first half) bothered me,
but then the last 10-15 minutes happened and I feel pretty
To Live and Die in L.A. is a film that has ‘80s stamped on its face, yet those who don't like the good old crime-action films released at that particular time (which are quite recognizable) will still find something new and refreshing in William Friedkin's film. That's not to say that if you don't like the ‘80s vibe, kick-ass spirit, synth-rock soundtracks (this one actually composed by Wang Chung at their best), etc; you won't be bothered by the film (you will - after all, this one has ‘80s written all over itself), but it's still totally unpredictable and a pretty different crime movie from what you would normally expect.
With the help of a great cinematography, brilliant editing, cool…
Everybody Wang Chung tonight
Una vez mas William Friedkin vuelve a dejarme descolocado y de nuevo creo que es un creador infravalorado.
Un thriller esteticamente bello, si "bello" porque creo que no hay otra palabra para describirlo, la suavidad con la que mueve la cámara en esas rapidisimas persecuciones a pie (ya no se ven actores correr asi...), cómo te mete en el asiento del copiloto (esta vez casi literal, ya que el compañero va en el asiento de atrás) en sus inteligentísimas persecuciones en coche y sobretodo la fotografía que tiene una paleta desde lo mas saturado hasta lo mas crudo, hace que sea una pelicula que de primeras te entre por los ojos.
Por otro lado tenemos una historia llena de violencia…
Was not expecting how that one wrapped up. But I loved every last beautiful minute of it. William Petersen had such fucking swagger back then.
William Friedkin’s To Live and Die in L.A is a taut, riveting and compelling action thriller that grabs your attention from the moment it starts. The film relies on a solid script, and the plot is well crafted and executed. The cast here deliver some great performances, and under the direction of Friedkin, they bring something terrific to the screen. The film is a fine genre film that blends elements perfectly to create something unique. The story is terrific and keeps you on the edge of your seat throughout its run time. Friedkin delivers a solid affair here, and it ranks as one of his finest directorial efforts. I loved the tension the film possessed and the actors chosen for…
William Friedkin is a master. This film is a great example of textbook crime filmmaking. The storytelling was clean and fluid, it was beautifully shot and scripted and the characters were colorful and well acted. This chase scene towards the end of the second act was especially terrific. I've been meaning to see this film for a while and it did not disappoint.
"Badasses" get shot in the face
...to die in a counterfeit LA; land of dead and dying souls. I like how every frame of this film is, while visually fine, aesthetically nasty. Shining the light on the city of Angels.
I want to rate this one higher but there are some downright terrible scenes and dialogue in here. And John Pankow's case of trying to make volume out of thinning hair doesn't help matters visually...but also lends itself to the nasty.
I can't tell if this is really terrible or really great so I gave it 5 stars.
Worth watching for Robby Muller's cinematography. To Live and Die in L.A. starts really well but just goes down hill and doesn't have the most flattering ending. Not Friedkin's finest hour but it's worth a watch. I'd take Peterson in Manhunter over his performance in this any day.
That 80's score is classic though!
After a guy gets thrown off a roof and explodes in the first 5 minutes I thought I was in for a real treat but sadly the film never lived up to the greatness of that moment. The highly talked about car chase also didn't do that much for me as I found it to be rather poorly filmed consisting of far too many close-ups and disorienting camera work that distracted me from what was going on in the scene which kept the sprawling chase from having a sense of scale.
In no particular order.
Only a small handful will be re-watches.
Feel free to suggest which ones are most essential.
One of my favourite genres. According to some people, some of the films here aren't really noirs/neo-noirs and some films…