1990 Directed by Tony Scott
Michael ‘Jay’ Cochran has just left the Navy after 12 years and he's not quite sure what he's going to do, except that he knows he wants a holiday. He decides to visit Tiburon Mendez, a powerful but shady Mexican businessman who he once flew to Alaska for a hunting trip. Arriving at the Mendez mansion in Mexico, he is immediately surprised by the beauty and youth of Mendez’s wife, Miryea.
Kevin Costner Anthony Quinn Madeleine Stowe Miguel Ferrer Tomas Milian Joaquín Martínez James Gammon Jesse Corti Sally Kirkland Luis de Icaza Gerardo Zepeda John Leguizamo Joe Santos Christofer de Oni Daniel Rojo Edna Bolkan Pia Karina Julián Pastor Claudio Brook Kathleen Hughes Rosa Radjune Julieta Egurrola
Jay Kamen Troy Porter Marvin Walowitz Robin Harlan Sarah Monat Bob Newlan Howell Gibbens Randle Akerson Bruce Fortune Joe Dorn Sandy Berman Mark Pappas Oscar Mitt
Hämnd - starkare än kärlek, Vingança
65
A lustful romance, and a tired, brutal revenge movie. Its eroticism is perpetually under the surface, ready to boil over at any moment.
The Tony Scott cut
Talk about some macho manly energy oozing on the screen.
Revenge is right in the middle of my movie watching wheelhouse. There’s hot sex, more hot sex and rugged action. Kevin Costner and Madeleine Stowe explode with sexual energy and passion. Add in Anthony Quinn playing tennis and you have to ask yourself: What’s not to love?
The scene stealers for me are Miguel Ferrer and John Leguizamo. Talk about masculine energy maxed the fuck out.
Fuck, I love Tony Scott. Revenge would make a great double feature with True Romance.
The Director’s cut is available on Blu, while the longer Producer’s cut is available on streaming / Starz. The choice is yours.
Tony Scott's High Plains Drifter. I watched the Director's Cut, and I can't imagine that the theatrical version would improve on anything; this is lean, brutal, built almost entirely on momentum.
Action!: The Scott Brothers - 80s Never Dies With Tony At The Helm
When he's not dominating the baseball field, Kevin Costner boasts a reputation as a heartthrob and modern-day cowboy. In spite of the fact he is not shooting left and right to outlaws in the Wild Wild West, there a certain Western vibe that pervades the whole picture, especially in the second half. This tone is amplified by the presence of Anthony Quinn.
In terms of performances, this is undoubtedly one of the best things about this film. There's almost a warmth and caring quality to Costner's acting that makes you want to root for him. With Quinn playing the antagonist, there is never an overblown element to…
A stealth TOP GUN sequel, in which Maverick retires from the Air Force, escapes to Mexico to visit his controlling drug dealer surrogate father, and is then punished for sleeping with the man's beautiful, neglected wife, his ugly Americanism wandering into a hyper-macho culture that views all of his cockiness as nothing less than glibly insulting.
The TOP GUN part is sort of a joke, but also what this movie is totally about: a Peckinpah-level treatise on insidiously toxic masculinity, in which the only woman in the narrative is nothing short of a beautiful trophy to be possessed for one, and a symbol of guilty reckoning for the other. I usually hate when folks say this, but its tough to…
I mean, I don't blame Costner for sleeping with Madeleine Stowe, even though he knew damn well she was married to a ferocious drug lord. I would've done the same.
Mexican guys *really* do not like it when you have sex with their wives.
The overall dumbness of the plot and blatant false advertising of the title
makes this probably the least good Tony Scott movie but one that still has some cool stuff like Miguel Ferrer and some amazing shots of Mexico.
Madeline Stowe plays a Mexican lady in this, which is hilarious, but she's also 🔥 🔥 🔥 🔥
A romantic revenge thriller, watchable for its with visually stylish execution from Tony Scott, terrific musical score by Jack Nitzsche and the solid performance from Kevin Costner. But the script doesn’t pack a punch, letting it down. No matter what, Tony Scott’s flair gives you a lot of reasons to like it.
"Fuck you, amigo."
Director's Cut
The more Tony Scott films I watch, the more I realise what an empathetic filmmaker he was. He always cared deeply about his characters, and wanted the audience to emotionally invest in their journey as much as he did. As such, Revenge is an exploitation flick with a burning heart at its core. The first half is certainly measured, building up these players and the tension between them. You buy into the inciting affair, because Madeleine Stowe is unbearably lovely and Kevin Costner is surprisingly charismatic. Those sex scenes are something else.
Then the shit hits the fan, and revenge is served up on both sides. As other reviewers have noted, this structure correlates to…
"These guys may be important to you, but they don't mean shit to me."
Revenge is something of an outlier in Tony Scott's filmography. It's a lusty thriller that has more in common with his equally off-the-wall debut The Hunger. Both movies are extremely horny in a moody, depressive sort of way. One of my favorite things about Scott is his flair for melodrama, and here that stylistic strength takes center stage. Shots are framed off-center, out of focus, through silk curtains, heightened by the intensity of the characters' desire and distorted by that desire's repression, foreclosed by its inexpressibility.
And like The Hunger, Revenge is also a multi-faceted genre riff, combining the narrative structure and bloody violence of the…
[Director's Cut]
A painter's Peckinpah: duplicity, cruelty, violent retribution; blood and sweat and sand and skies. Its force is undeniable.
