Cutter does everything his way. Fighting. Loving. Working. Tracking down a killer.
Richard spots a man dumping a body, and decides to expose the man he thinks is the culprit with his friend Alex Cutter.
Richard spots a man dumping a body, and decides to expose the man he thinks is the culprit with his friend Alex Cutter.
Jeff Bridges John Heard Lisa Eichhorn Ann Dusenberry Stephen Elliott Arthur Rosenberg Nina van Pallandt Patricia Donahue Geraldine Baron Katherine Pass Francis X. McCarthy George Planco Jay Fletcher George Dickerson Jack Murdock Essex Smith Rod Gist Leonard Lightfoot Julia Duffy Randall Hicks Roy Hollis Billy Drago Caesar Cordova Jonathan Terry William Pelt Ron Marcroft Ted White Tony Epper Andy Epper Show All…
Caso de Assassinato, Bis zum bitteren Ende, Med blod skal ondt fordrives, A la manera d'en Cutter, El camino de Cutter, Cutterin kosto, La blessure, Cutter V'Bon, Alla maniera di Cutter, Sposób Cuttera, Cutter and Bone
CUTTER'S WAY opens on the American Dream in the form of a melting pot parade, the procession playing out in slow motion with Jack Nitzche's otherworldly zither and glass harmonica lullaby underlining the word "dream." Later when the three main characters are watching a similar procession, Cutter makes some characteristically offensive, cynical remarks about floats featuring Native Americans and Mexicans. "Look at our glorious past...happy padres, happy Indians. Wiped out in less than 200 years by disease and forced labor. You can still get one to clean your kitchen... they died with Christ's blessing. Happy corpses, each and every one." Maybe Cutter, disfigured physically and mentally in America's most recent imperialist adventure, is getting to the root of it all:…
"Give the man his goddamn doll."
This is a thriller in the same way Moby-Dick is an adventure tale, on paper about a team of heroes taking on a dastardly villain but in its substance and its details a story about hopeless tragedy and the differing responses people have to it. I've never been more shocked to find out a movie wasn't made in the 70s.
Cutter's Way is one of the few films ever made that made me angry.
To be more precise, it didn't actually make me angry itself. It's more the fact that it continues to be almost completely ignored for the many things it is over 35 years now since its release. There's a style and method to almost everything surrounding this film that I find fascinating. From its 'do not even mention its name' treatment of the post-Vietnam War backdrop it's set against to its off-centre performances and characters through to its strange almost feather-light plot.
Films like this intrigue me no end, especially when they come from…
The last American hero. A melancholy, boozy beachside noir that lives in the shadow of Vietnam and treats its central mystery like an afterthought. Instead, it's all about commitment and purpose; a crippled war vet and his flighty floozy of an Ivy League burnout pal coming to terms with the fact that they self-actualized people they hate without even realizing it along the way. Arcs are certainly achieved, but also culminate in the bleakest final shot in all of cinema. A stunning work out of time. [35mm]
That’s right brother 🤟😎👊
John Heard gives maybe the greatest going-for-it performance of the 80s. I love this movie and its jet-black heart.
I first saw Cutter's Way about four years ago (pre-Letterboxd) and needless to say, it basically went over my head for it wasn't the film that I had hoped it would be. What a close-minded fool I was back then. With four years of memory decay I was able to watch the film with fresh eyes and was blown away by the reserved depiction of loss. Loss in one's dignity, loss in one's stability, loss in the American Dream, loss in brotherhood, loss in marriage and the lingering loss of the past and the inability to fix it. These mournful themes are beautifully conveyed through the narrative catalyst of an unsolved murder that may have been witnessed by the protagonist,…
“I watched the war on TV just like everyone else. Thought the same damn things. You know, what you thought when you saw a picture of a young woman with a baby lying face down in a ditch. You had three reactions, Rich. Same as everybody else. First one was real easy: ‘I hate the United States of America.’ You see the same damn thing the next day and you move up a notch: ‘There is no God.’ But you know what you finally say, what everybody finally says? ‘I'm hungry.’”
Two cool dudes try to blackmail a California oligarch who may be guilty of murder. Yet another movie that makes me wish I lived in California.
The movie was good, but John Heard's performance is God Tier.
I expected a standard Hollywood action picture, so for the first 20 minutes or so I was thrown for a loop. I wasn't too fond of any of the characters, especially Cutter, and I was getting impatient to get to the story. But then something happened. None of the relationships in the film were clearly demarcated. None of the dialogue was typical. I knew it was based on a book, but until that moment I had no idea that this was more of a literary picture, a play of sorts, than a Hollywood action film. I loved the film from that moment on.
I liked Jeff Bridges' Richard Bones, the quiet philanderer who was in love with Mo (or at…
The scars and disillusionment left by the Vietnam War really made people question the integrity of America's political, social, and economic elites. Imagine the seething anger at the sheer BS of it all. This film kind of encapsulates that with its cozy Santa Barbara setting of sailboats, polo clubs, old money, parades, and impunity. Rarely have a place and a film been so well matched. John Heard's characterization of Alex Cutter captures the essence of that anger and disgust at the hypocrisy like few have. It's a compelleingly verbal and physical manifestation with his missing arm, leg, and eye, that really has a power unto itself. Step on a land mine in a war like Vietnam and return to Santa Barbara of the 1970s with its old money, what a great fucking subject for a film. This is like what Roman Polanski did with "Chinatown", only maybe even better.
What an incredible film, and one I do not feel confident in exploring too deeply without another viewing. I've only ever heard vague references to this film by a pocket of fervent supporters, but this strikes me as one of the great Vietnam movies, though Vietnam only ever haunts the movie in the spectre of its mangled title character. A post-Watergate noir in which its characters find a horrid focus in their aimless lives, turning stagnant intellectuals into active loons whose fight against corporate power is futile and insane regardless of whether they are even justified in so doing. Its conclusion shows a spineless playboy finally doing something with his life, even if it's the worst thing he could do.
This was included in a weird John Heard double feature DVD that also included Chilly Scenes of Winter. I definitely enjoyed this film less than CSOW, but the performances are strong even when the script isn't and if you have an affection for sun-soaked 80's neo-noirs like I do, it won't matter. It has one of those abrupt endings that you'll initially hate but works better if you give it some time to marinate.
John Heard deserved a better career than to be known for the father of a spoiled brat at home alone. If you have time, this is available on Amazon Prime. This, to me, is the best of the film noir genre.
“It was him! It was HIM!”
“It was you.”
“What if it were?”
Despite the funny dialogue and Californian sunshine this is a really melancholy film. You never actually see any of the investigative work taking place and the plot is pretty thin. You're never sure if the bad guy actually is a bad guy or just a projection of the characters' anger/disillusionment.
moram opet da odgledam
vrlo moguće jedan od par ključnih “američkih” filmova
I’m not concerned with whether or not this film chooses to condemn or glorify Cutter, but I’m not buying that any of these other characters would be able to tolerate his bullshit for even an hour. In reality, this is a friendless idiot. I’m fine watching him (especially since John Heard gives a pretty fantastic performance), but I think what made it all feel like a waste of time was making it to the end credits with my prayers for any sign of pathos being unanswered. Maybe next time, huh Lord?
Whether it's the pandemic, the economy it took a sledgehammer to, the various racial injustices, etc., American life in 2020 has too many people feeling defeated and demanding justice against anyone who made it the miserable year that it has been. Surprisingly, a relatively obscure movie from 1981 called Cutter's Way helped me process these feelings better than any other movie I've watched this year so far. Set during the comparably miserable post-Vietnam era, it follows best friends Richard Bone (Jeff Bridges), a gigolo and boat salesman and Alex Cutter (John Heard), a disabled veteran. After the police wrongly accuse Bone of murdering a young woman whose body was found in a trash can, the duo and the victim's sister…
They really don't make movies like Cutter's Way anymore. The last of the 70s films, made in 1981. Heard's performance is amazing.
It's kind of suspenseful crime or you can say investigative drama.
The kind of suspense you can feel even in bonding between characters like they have so much inside & not giving it away that's why at some point it feels like dry. Though it's ending is not upto the mark not only because of the plot but also few characters didn't take very well on it. Btw dialogues are convincing as its based on the novel.
Overall performances are good excluding the villain character. I like Lisa eichhorn (mo) performance in this movie because it is kind of she assimilated all of it. John heard (cutter) on the other hand gave great performance. Jeff (bone) is like not taking it on sometimes.
I love a shaggy detective story, but usually if the mystery is not all that important, the characters are great. Not so with this movie. It can’t make up its mind if it wants to be CALIFORNIA SPLIT (a fun hang with well-drawn characters) or CHINATOWN (a complicated plot that is ultimately satisfying) and It’s about 10% as interesting as either of those. Jeff Bridges is fine, but Lisa Eichhorn is not great and John Heard is painfully bad. It was a chore to finish this.
This review may contain spoilers. I can handle the truth.
The initial focal event in the movie seems like a inconsequential backdrop to a series of scenes of a drunken veteran shouting a lot. I mean maybe John Heard gets a lot of praise for his performance but I literally know no one like this. He seems to undertake a full scale investigation into the initial event without you seeing any part of of it. The film seems to exist in the negative space, it’s like it’s taken Interesting parts of the story, remove them and show you the parts in between. Maybe I missed something but it’s really not great.
A harder-edge version of the sun-drenched neo-noir that followed Altman's Big Sleep and one of the last gasps of the "real" cinema that came out of the 1970s.
Richard Bone (a stupid sexy Jeff Bridges) is drifting through life as a boat salesman in some small California town. He's joined in this drifting by drinking buddy Alex Cutter (John Heard), injured in Vietnam in ways seen and unseen, and Cutter's wife Mo (Lisa Eichorn). Well, one night Bone witnesses a murder. And Cutter cooks up a way where they and the victim's sister Valerie (Ann Dusenberry) can get a little bit of justice, a little bit of money, or a little bit of both.
A movie like that where your…
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