The first 1012 films are from The 1,000 Greatest Films list, and maintain the original order. The films that follow…
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
It's taken me a while to get around to watching William Friedkin's L.A. set thriller. It started when I bought a DVD at a bargain basement store and got it home to find it was region 1. Eventually when I did find a copy it was scratched and kept sticking, so I reckoned I was cursed and destined to never to see it. However when another copy fell into my lap, it was fortunately third time lucky.
William Petersen may well have found real celebrity status as Gil Grissom on the universally popular CSI, but he did make some interesting films back in the eighties. Both this and Michael Mann's Manhunter gained cult status as being just that little bit…
I litch, as soon as this film finishes immediately want to watch it straight away.
This movie is such an insane mess, which is why I love it so much. On the one hand, you have the most cliche of cliches ("I'm getting too old for this shit", partner dying as he's about to retire, cops bending the rules), and then on the other, you have moments of such visual perfection and genuine intensity. Plus, the narrative, as predictable as it seems like it is going to be, starts pushing and fusing in genuinely strange ways. The way Friedkin uses sex is also fascinating: as a power dynamic, as pure pleasure, as homosexual subtext. William Petersen is maybe a little too unhinged (pretty ridiculous there isn't a scene of him snorting coke in a bathroom), but his manic intensity is sort of necessary (has anyone ever walked so furiously?). Plus, Wang Chung.
One of those greatest thriller movie ever made.The Car chasing scene made my day, it's so fucking brilliant.
This film gets better with every viewing.
Great thriller with a lot of Mann'isms despite being directed by Friedkin. Violent, suspenseful, full of style and probably one of the most pessimistic police thrillers I have ever seen. Oh and THAT chase has to be one of the greatest!
Abstract art, counterfeiting, corrupt secret service...I love this movie.
Love at first sight! It's not everyday that a film offers everything that I could possibly want from cinema. It's also worth noting that, in between William Friedkin and second unit director Bud Smith's thoroughly masculine direction, To Live and Die in LA finds the time for a scene involving three nude men in a locker room and steamy sauna.
I honestly wasn't prepared for this thrill ride. That extended car chase sequence is an all-timer. The closing scene is just perfect. Cannot get enough of the soundtrack. Love!
Surprising lunacy finds itself in strong assurance by pictures end
Wenn William Friedkin eines liegt, dann die Umsetzung von rasanter Bewegung. [...] Für sich genommen, liegt mit der Musik von Wang Chung großartige Qualität vor. Wirklich feinster 80er-Synthiepop – quietschig, pornös und in jeder Note Zeichen seiner Zeit. Doch wirkt eben diese Form der Musik hier unangenehm deplatziert, weil sie sich weder natürlich einfügt, noch sinnvoll aus den gezeigten Szenarien heraus legitimiert ist. [...] Doch ab und an sind sie da, diese Momente die dem abgrundtief böse aufspielenden Willem Dafoe gerecht werden, die einen Nährboden für die zwielichtig-unmoralische Geschichte liefern, in der die Grenzen zwischen Bewahrung und Bruch des Gesetzes zur vage verschwommenen Auslegungssache verkommen. Moralische Fragen stellt Friedkin hier immer wieder – heiligt der Zweck die Mittel in jedem Fall? Darf das Gesetz überschritten werden um Gesetzesbrecher endlich festnageln zu können? [...]
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recommend shit to me, please! esp. little known sleazy stuff
Complete list. :-(