Reviews (135)

Warriors Come Out To Play!
This 1979 Walter Hill Film is said to be based upon a real Coney Island street gangs events. The ficticious gang the Warriors heads on the Subway to the Bronx from the most distant part of Brooklyn to meet the head of a gang named (Cyrus). Once in a Bronx Park, Gang Leader (Cyrus) preaches that if every gang in the city would unite, they could take over. During this speech Cyrus get's shot and a Warrior member is accused of the murder. Mayhem then breaks loose as Cops move in and the Warriors have to make it back to Brooklyn via Subway with all gangs hunting for them. Thus begins the urban nightmare when trains had graffitti and gangs fought with bats and switchblades. If this story is based on some real experinces the real gang from Coney Island were truly Warriors. For those unfamiliar 28 miles on the subway in the middle of the night with the cops and gangs chasing you makes the wild west seem like Disneyland. The plot is silly but the movie makes up for it with it's comic book like action and the ability to touch the fear of any urbanites. From gangs made up wearing Yankee Baseball Uniforms to Gangs on Skates the chase scenes are great. An emotional statement accompanies a suprise ending. This movie was a sleeper, partially because theatres would refuse to show it due to it's instigation of violence. As I was growing up not far from the movies origin I was put under the impression that this story depicted some true experiences. No gang related film ever came close to this urban rollercoaster ride.

COME OUT TO PLAAYY YAAA!
I remember when I first saw the "Warriors" back in 79, I was hooked on the realization and authenticity of NYC gang life that was portrayed on screen.It isn't your average gang movie where a bunch of punks is menacing innocent folks for 94 minutes. This cult classic gives you: a superb story plot,real NYC locations especially Coney Island(no Hollywood movie studios),creativity in the wardrobes of various gangs(some scary/funny),great fighting scenes(no guns-good ole fashioned punches,kicks,bats & switchblades) and very memorable one-liner dialogues."CAN YOU DIG IT,COME OUT TO PLAYY-YAA and CAN YOU COUNT SUCKAS" is repeated still to this day from us average folks and even some of todays rappers.I'm from NYC and I enjoyed the scenery and grittiness of this movie-subways stations and cars sprawled with graffiti & the huge corridors of the IND lines.The subway scenes cannot get any more real than that.From Cyrus's magnetic speech,the shooting which started the pandemonium,the twists and turbulent flight home and the final justice given to the Rogues the "Warriors" is magnetic and fascinating to watch.I just bought the VHS copy today and I'm gonna watch it over and over again! It's also good to watch with a couple of friends especially if they grew up in that time.Generation X may think it's funny/corny compared to the violence and gangs we have today.Finally,the beginning of the movie where they are being introduced is cut out unfortuna tely but this collectors' item is good enough to place in my "Movie Hall of Fame".can you dig it,Can You Dig It,CAN YOU DIG IT!

classic
This film brings back some wicked good memories... I give it 4 stars for content, (music, cast, story) and an extra star for the memories. Is it an award winning dialogue filled film with award winning performances? No, but it was well made and when you want to go back to the late 70s early 80s jump in your time machine(dvd player) and pop in this film , it is a way of time traveling back to this time period and rewatching how it was.

dont miss
One of my favorite films,"the warriors" recalls a more simple time,when gangs were cool and they didnt carry automatic weapons,and they did the fighting with bats and fists.Its an excellent trip through a single night in new york city.The armies of the night number 100,000;they outnumber the police 5 to 1; tonight they're after the warriors-a street gang blamed unfairly for a rival gang leaders death.dont miss this classic ride.

Warrriorrssss....Come out to playyyyyyyayy
LMAO....This movie owned badly. It came out a long time ago, but I saw it on DVD about a month ago. Gangs from the 70's are sooooooooo much different than gangs today. Like we might have bloods, and crips today. But the gangs back then actually had meaning, and a concept. A nice example is the Orphans. They all dressed up in raggidy !@# clothing, and kept to themselves. They had a gang like, they all dressed up in baseball uniforms, and wielded bats as weapons. Also, guns were rare back then. I mean some people had guns, but when the term "Are you packing" was said, people had whatever they can fight with. 2X4, Bath, Pipes, Bricks. Thats real....lol ... Read more

Amazon.com

The boys are back in town, but they're wearing their carbon-paper suits in this frantic but not nearly as funny sequel to the action-comedy hit. The first time around, the combination of Eddie Murphy and Nick Nolte had the element of surprise going for it: Who expected these two to have chemistry? This time, chemistry is virtually all they have in a veritable rehash of the first film. What plot there is has to do with Nolte's needing Murphy (who is just out of jail) to help him clear his own name and save his job on the police force. Director Walter Hill is back in place, but this time the script is the work of action hack Jeb Stuart and the movie barely gives Murphy room to unleash his comic riffs; when he does, we're expecting them (though he's still entertaining). --Marshall Fine ... Read more

Reviews (17)

More of a remake than a sequel
Jack Cates (Nick Nolte) has been tracking an elusive druglord named the Iceman for the last few years. During a botched arrest attempt he discovers that the Iceman has arranged a hit on old friend Reggie Hammond (Eddie Murphy) who's about to be released from prison. Cates is certain to face the loss of his badge if he doesn't wrap this up, so he turns to Hammond to help him bring in the Iceman. Three sadistic bikers (hired by the Iceman) are also hunting the pair, one of whom is the revenge hungry brother of the psycho Cates killed in the first film. Nolte and Murphy still click, and the movie is never boring, but this is basically a rehash with minor changes made here and there. We revisit their fistfights, another redneck bar, another hotel shootout, and so on. One plus is that the profanity has been toned down (at least by Murphy's standards) and there is some exciting gunplay amidst all the shattering glass you would find in a Walter Hill film. Hill might have turned in a much better film had he veered away from all this familar territory.

the boys are back in town
they are back. nick nolte and eddie murphy return in this smash hit sequal another 48 hrs. this time around a killer known as the iceman ganza's brother from the first 48 hrs is doing the dirty work and nick nolte is the only cop on the force who thinks he exists. just like before nick and eddie get 2 days to track this guy down. not to many people like this movie,but i thought it was a very good sequal. of course the first is better but this one is very good to. how can you not like it we have a bus that flips over 17 times with eddie murphy in it,eddie murphy holding up another redneck bar,and the ending is very good as well. rated r for strong violence,strong language,and some nudity

Can anyone please answer this question???
Why didnt Reggie recognize the Iceman (Detective Keyhoe) in the first movie...In the first movie, Reggie was in the precinct quite often, why didnt he recognize the Iceman then??????

I like this movie, but Reggie was the only one who knew what the Iceman looked like and the Iceman worked right next to Nolte?? his friend??...it is just a huge hole in the plot, but I did find the movie fun

Egad!
Should never have been made. A deflated carbon copy of the original. Inaugerated Murphy's early 90's slide. Murphy and Nolte can barely be bothered to show up for this nonsense.

Bad Sequel! Bad, BAD Sequel!
They get in fistfights again, they still treat eachother like dirt, Eddie does "Roxanne" again, Nolte shoots at the guy holding a gun against Eddie's head again, another redneck bar, the same "sky blue Cadillac", the list goes on and on. Never have I seen a sequel so desperate to cling to its predecessor as this one. And sequels are NOTORIOUS for clinging to their predecessors ("American Pie 2" and "American Wedding" anyone?). It has its moments, but trouble is you've seen most of them before when they were still fresh and original. Worth renting if you're a fan of the original, but certainly not a "must-own". ... Read more

Amazon.com essential video

Before the action-oriented "buddy movie" formula settled into place in the 1980s and 1990s with the Lethal Weapon films, Walter Hill's 48 HRS. presented a much more irreverent and politically incorrect version of the genre. Eddie Murphy made an auspicious film debut alongside veteran Nick Nolte's consummate performance as a worn cop. Murphy plays a convict on a two-day furlough from prison to help capture his former partner (James Remar). The intense animosity between his character and Nolte's impatient detective is rude and violent--albeit in a comic way--and the film's racist and sexist banter is so ubiquitous that some viewers might be turned off. (This early, raw Murphy is not the Murphy of The Nutty Professor.) Then again, sometimes deliberate overkill is funny in itself, which is certainly closer to Hill's intention. There are a couple of scenes for the ages in this film, especially Murphy's single-handed shutdown of the action in a redneck bar. --Tom Keogh ... Read more

Reviews (25)

This is the REAL thing. Accept no imitations.
In order to appreciate this film fully, you hafta turn yourself back in time to 1982, an' try an' remember the political an' social mindset of the day. Then imagine watching '48 HRS.' an unabashed an' raucous cop thriller that breaks the very foundation of political correctness. Now how does that make you feel? If you say, sick to your stomach, then maybe you needa loosen your jock strap an' try it again. E'ybody knows the plot, the hard-drinkin', chain-smokin' San Francisco cop Jack Cates, played by Nick Nolte (who looks almost TOO comfortable in the role of a wasted, burn-out), is lookin' to put two recent prison escapees an' vicious cop killers away after he tried an' failed to apprehend them. In going over the case he comes across several members of their old gang an' decides to go talk to one'a the incarcerated ones. Here's where Eddie Murphy comes in. Reggie Hammond is the smooth an' dapper, fast-talking convict who convinces Cates to get him out of jail an' on the street to help him solve this case. Cates reluctantly does so, an' from there is' jus' the two of them together goin' from place to place, crook to crook, bar to bar, lead to lead, tryin' to keep from killing each other in the process. Cates is a rough-edged, semi-bigot with an apparent vendetta toward these crooks (though apparently jus' for stealing his gun), Reggie is the charming, jive-talking criminal, with a more obvious vendetta toward the crooks (they dropped the dime on him, got him locked up, an' are now tryin' to steal a half a million dollars of his hard-earned, er, um, hard-stolen cash). Both are on the same mission, but with two TOTALLY different personalities an' when they mix it up, oh, is' gunpowder. E'ybody talks about the scene with Murphy in the country-western bar playin' cop ("Alright listen up. I don't like white people. An' I HATE rednecks. You people're rednecks. That means I'm enjoyin' this s---.") an' although it is funny, my favorite scene comes right after they question the two ladies who were s'posedly in cahoots with the killers, when Nolte an' Murphy finally drop the trash-talkin' an' jus' have a drunken brawl in the street only to be broken up by two cops on the beat.

This is the original buddy cop flick. With two guys who're ironically ANYTHING but buddies. Depending on the way you've come up watching movies, this one will either be a wonderfully offensive cop thriller, or a horribly offensive cop thriller. Of course, no matter how you look at it, '48 HRS.' will forever be a hallmark, because it was one'a the first movies of its kind: a rough-edged, blatant politically-incorrect film centering on characters that are so sleazy at times you hafta force yourself to like them, an' revolving around racial stereotypes an' sexist banter thas' thrown around like it's nothing, not to mention some brutal violence. Now it'd be much harder to overlook all the coldness if it wasn't for the charm an' appeal of Eddie Murphy, in his film debut. He is the main reason to watch the flick, although Nolte's character also provides the perfect counterbalance. Directed by Walter Hill, '48 HRS.' set a new standard for the way action flicks were to be played for the rest of the 1980s. With laughs, wit, chemistry, an' a not-so-serious attitude set against a very serious backdrop.

Fun cop buddy flick
Eddie Murphy made his debut in this Walter Hill film, and he is really the star here, even though Nick Nolte gets top billing. Nolte does a fine job, but his part is not as showy, and one's eyes are not drawn to him as much as Murphy, at his best in the country-western bar scene.

You probably know the story, but I'll summarize it here by saying that this is simply a buddy movie with an antagonistic twist. Murphy is the con, in for three years with six months left. Nolte is the cop on a search for James Remar, who stole a lot of money with Murphy long ago.

The story is set up as a mystery, with the pair questioning several possible connections, but the story doesn't really matter. The main attraction is the relationship between Murphy and Nolte and the slow growth towards friendship.

One complaint is that since this was filmed in 1982, they had a different idea of gritty police drama than today. The police department's atmosphere is incredibly tame compared to shows like NYPD Blue. Nolte does his best, chain-smoking and nipping from a flask (I read once you could tell an '80's movie by how much they smoked), but he still doesn't come across as jaded as any scene with Andy Sipowicz.

It's still fun and good entertainment, especially if you are looking for a film with an American Indian character that dresses like a '50's relic.

Wonderful
This is Eddie Murphy in is prime, when he was at the height of his acting career. He is so wonderful in this movie. He steals the show from Nick Nolte.

Worth Owning on DVD
At less than $15, this movie should be flying off the shelves. Both Nolte and Murphy are great. Their characters are are perfectly scripted to each actor's abilities and personality. Murphy plays a loudmouth penny ante punk. Nolte plays a grumpy, rascist tough guy. They, of course, learn to respect and like each other as they chase down the bad guys. The story isn't bad either. The soundtrack is good and 48 Hrs is set all over San Francisco. If your a fan of either or of comedy action or movies set in SF, you can't go wrong. My favorite Eddie Murphy movie.

Murphy's best is his first
Some of the best 1-liners ever reside in this film. Simply put, its a great comedy with a flare for drama, and in the cop buddy genre. Lots of cursing, some nudity, but ultimately, a great flick. It kicks today's cop buddy flicks in the Mother F-ing Aholes Mother F-ers! ... Read more

Reviews (53)

an underrated cult movie!
This was one of those big budget, high concept films of the '80s that the studio had high hopes for but ended up belly-flopping at the box office. It's a shame, really, because this is a wonderfully entertaining B-movie with A-movie production values.

Yeah, most of the songs (with the exception of the two awesome tunes by The Blasters) are horribly dated and totally inappropriate for the look and vibe of this movie (what do you expect? they were mostly written and/or arranged by the guy who produced Meatloaf's BAT OUT OF HELL -- ugh), which should have gone more with rockabilly and old school '50s rock 'n' roll instead, but oh well.

Michael Pare delivers his finest performance in this one as the silent tough guy Tom Cody and he has real chemisty with old flame Diane Lane who is perfectly cast as the rock singer who needs to be rescued. This was at the time when both of their careers were read hot (esp. Lane's after doing all those awesome Coppola films!) and this film was supposed to launch their careers into the stratosphere. Doh.

Surrounding them is a great cult cast of character actors... Rick Moranis as the annoying manager, Amy Madigan as the butch soldier-of-fortune, Willem Dafoe as the nasty, leather-clad bad guy and the blink-and-you'll-miss-'em cameos by Bill Paxton (great hair!), Lee Ving (from the punk band Fear), Ed Begley, Jr. (what the?!), Robert Townsend (I'M GONNA GET YOU SUCKA!) and a young Mykelti Williamson (Bubba Gump!).

This was also Walter Hill at his finest. After this, with the exception of JOHNNY HANDSOME, it was pretty much all downhill. But, man, he had a good run until the bottom fell out.

The transfer on this DVD is top notch with kickin' sound that really comes out if you've got the proper home theater set-up. It's a real shame that the studio didn't let Hill or anybody else involved provide some new extras! C'mon! If commercial flops like UHF and NEAR DARK can get awesome special edition treatments then so can this one!

A Terrible Movie That You Can't Help But Love
Personally, I really like Streets Of Fire, but strictly speaking, it's terrible. The script is really bad and the dialogue is some of the worst I've ever heard. However, it can be very fun to watch. The cinematography is excellent, and the beginning and ending concert scenes are the reason I bought this dvd in the first place (I'm a huge Jim Steinman fan). It really is fun to grab a few friends and some snacks and just laugh at Rick Moranis and Michael Pare overacting their corny lines. It also has Elizabeth Daily, whom you may know as the voice of Buttercup on The Powerpuff Girls. I love her! She's a joy to watch. I was dissapointed in the lack of special features on the dvd, and somehow I don't think there will be a special edition version. But hey, it's always amusing to watch corny dialogue transform into corny French dialogue, right?
Simply put, if you're a fan of cheesy movies and you don't take things too seriously, you will probably get a kick out of this film.

A "Grows on you kind of flick!"
Ok...when I first saw this movie the first thing out of my mouth was..."Ok...what was that all about?" lol...but after watching it again...and being a really big (self-proclaimed) Michael Pare fan, I gave it another try, and was really suprised that I enjoyed it! It grows on you...it's a "You can't help but love it" kind of film! The more you watch it, it becomes a guilty pleasure! A must see...if you like the kind of movie that you can love, and still think..."WOW...I really like that?!?!?!"

"You can kiss your baby goodbye."
If you recognize the name Ellen Aim you know your cult sci-fi rock movies, or, as director Walter Hill called his 1984 film Streets of Fire, your "rock and roll fable[s]."

Ellen Aim and the Attackers are a band that plays in an alternate version of the eighties, or maybe an alternate version of the fifties. It's either the eighties that couldn't let go of Elvis and pre-British Invasion rock and roll, or it's the fifties anticipating an urban underclass where everyone is on the edge of violence. Walter Hill loads the movie with a retro neon look, blending genres, similar to what he did in 1979's The Warriors, where he mixed the post-war social-issue movie with the seventies exploitation film, along with some ancient Greek history. (As Cyrus, the would-be savior of all the warrior gangs, booms at us, "Can you dig it?")

Michael Pare (as Tom Cody) stars in Streets of Fire. Cody's just out of the army in a what-if America that still has the social restraints from fifties Tab Hunter movies, but wallows in the corruption and depravity of Reagan's eighties. On this particular morning in America it's raining and everyone's on the verge of killing someone. Willem Dafoe's first appearance as Raven, the villain in black rubber, fresh from God knows what perversity, to the song "One Bad Stud" performed by the Blasters ("If he likes your baby, you can kiss your baby goodbye"), may be what got him typecast as a psycho in so many movies.

But in a fifties movie there has to be a love story. You can't have a guy without a girl. There has to be a Natalie Wood for James Dean, even if the romance is between James Dean and Sal Mineo. In Streets of Fire, Michael Pare's Natalie Wood is Diane Lane as singer Ellen, who Aims her Attack straight at your heart while she caresses one of those old round microphones that look like a hood ornament. Raven kidnaps Ellen and her old boyfriend Tom Cody (Buffalo Bill to the rescue) is called to save her. Unfortunately, Lane doesn't get to do much more than play the frail here.

Cody's real emotional connection is with McCoy (Amy Madigan), another vet who makes Cody hire her to rescue Ellen. McCoy brushes off Cody's half-hearted passes with "You're not my type." McCoy wears greasy old clothes and fixes cars better than Cody so I think I get the point. Especially when McCoy leers at a female nude dancer at the club where Ellen is being held. It seems like the movie was going to be more explicit about McCoy's sexuality but chickened out.

I won't spoil the story but you know how it ends.

I have a soft spot for movies that are original, even if they're not entirely successful. The music's good, the look of the film pulls you into its unique world, and the story is one of those mythic restatements that move you even when you know they're corny.

Yes, cheesy but the best kind though...
I truly love this movie, even though it is chock full of horrible writing and over acting, but all of this is done in a very cool way. I like to think of this as a pirate movie only on land with a bunch of bikers, cool cars, and tons of film noire dream like quaility action going on. Plus a great sound track to go with it. If you like Micheal Pare I recomend checking him out in Eddie and the Cruisers 2: Eddie Lives! instead of Eddie and the Cruisers. He's much more interesting in Eddie Lives! and it has a much better soundtrack with incredible songs done by John Caffhery and the Beaver Brown Band. ... Read more

Reviews (4)

Good, old, HBO horror series
They really should bring this series back. To those of you who have been living under a rock for the last 16 years, this is basically a very good, revamped-gory version of the twilight zone. Some great short horror stories!
Side note: I still have the old Crypt keeper dolls (still in their boxes) in my closet. I bought them at Spencer's gifts ages ago, maybe someday they will be worth something.

"Mirror, mirror on the wall. Who's the FEAREST of them all?"
Welcome to my review, horror freaks! So glad you could join me and read about the 6 eerie episodes of HBO's "Tales from the Crypt," the very ones that helped the series rise from its tomb back in 1989. It's been 9 long years since the show went off the air, and until now, I've been waiting for the Crypt Keeper's putrid puns and awful alliterations to be forever preserved on DVD format. And why not? The show lasted a full 7 seasons and featured many of the biggest actors and directors in Hollywood. Each tale carefully incorporates the grisly black humor William M. Gaines EC comic books, which were almost banned in the 1950's. Did I say 'almost?' Anyway, as other HBO programs like "Dream On," "Deadwood," and "Carnivale" were packaged and displayed on Best Buy shelves, I wondered if "Tales" would ever be among them. Well, the time has finally arrived, creeps! As stated by John Kassir himself, Warner Brothers wisely chose to create these discs so we ourselves can scare the next generation of kiddies to come. Even better is the fact that the second disc of this Season 1 set will contain a sickening array of never-before-seen extras. I don't want to give the surprises away, but I will briefly tell you the stories you are about to see. Enter, if you dare!
"Dig that Cat...He's Real Gone" stars Joe Pantoliano as Ulric, a homeless alcoholic who becomes a rich and famous sideshow performer after a mad doctor (Gustav Vintas) surgically implants a cat's gland into Ulric's brain. This procedure allows him to die and return to life nine times. Morbid hilarity ensues as a carnival barker (Robert Wuhl) presents Ulric the Undying to astounded audiences who watch him get electrocuted, hanged, drowned in a tank, and shot with an arrow (among other things).
In "The Man Who was Death," Bill Sadler (who eventually starred in the 1995 Tales from the Crypt film "Demon Knight") plays Niles Talbot, a state executioner who loses his job after spending 12 years pulling the switch. This resulted because the government unexpectantly repealed the death penalty. However, not wanting to abandon his favorite occupation, Niles drifts to the other side of the law by killing criminals who were acquitted by the courts.
The frightening and festive "And All Through the House" stars Mary Ellen Trainor as a devious housewife named Elizabeth, who brutally bludgeons her husband with a poker to collect on an insurance policy. Just when she is ready to eliminate the corpse, a homicidal maniac donning a Santa Claus costume (Larry Drake) terrorizes her with an axe. Even worse, Elizabeth can't call the police for fear of being convicted of first degree murder and losing custody of her daughter.
Vanity and greed play a central role in "Only Sin Deep," a tale about a street prostitute named Sylvia Vane (Lea Thompson). After killing a pimp and stealing his gold jewellry, she willingly sells her beauty to a strange pawnbroker (Britt Leach) in exchange for $10,000 cash. At first, Sylvia wins over the affections of a suave playboy millionaire. But immediately afterward, as a result of some black magic performed by the pawnbroker, she gets increasingly distraught as her face quickly ages. Desperate to buy back her looks, she shoots her rich lover dead, but is then forced to avoid prison by staying ugly for life.
Prepare for a honeymoon hell in "Lover Come Hack To Me." Here, a cunning bachelor named Charles (Stephen Shellen) marries a naive Peggy (Amanda Plummer) for her inheritance money. On a rainy night, after accidentally getting stuck in an abandoned mansion, the two go up to the bedroom and make perfect love for the very first time. Originally, Charles was going to kill Peggy and stage the crime to look like a burglary. But he soon discovers that her family history is cursed, and that much darker skeletons lie in the bride's closet.
Last but not least is one of my favorite episodes, "Collection Completed." M. Emmet Walsh plays Jonas, a grouchy tool salesman who finally gets to retire after 47 years on the job. His slightly odd wife Anita (Audra Lindley) has developed a fondness for pets...alot of pets. In fact, she keeps a zoo-full of cats, dogs, and birds in the house. On top of that, she talks to squirrels and runs an aquarium in the bathtub. Obviously, such an attachment to animals is enough to drive Jonas up the wall! Inevitably, he gets sick and tired of not having enough attention, and he gleefully takes up taxidermy as a hobby. But those poor animals weren't the only living creatures that ended up getting stuffed.

Tales from the Crypt
I have written HBO countless e-mails over the years begging for this dvd set. I never received one e-mail response from HBO. Oh, well. I really did not expect one.
This is one of the best horror shows, period. Some of the top horror/adventure writers and directors wrote and directed these episodes. I believe this series ran for seven seasons. This can be intense stuff, not for children because of the nudity, sex, graphic violence, superb gore effects, language, and more. Some of these stories are truly the stuff of nightmares. They will haunt you.
If you have never seen Tales from the Crypt you are in for a treat, if you are a fan of horror. Go to your local book store and pick-up a trade paperback of the old EC comics these stories are based upon to get a feel for the translation from comic book to television show. Wait until you meet the Cryptkeeper, who introduces each episode, for a meeting of the surreal and insane and just plain weird. And, you will see some big name stars come to fantastic demises. Just wait, you'll see.
Now, where are Tales from the Darkside and Friday the 13th the series. These are two more violent horror series from the pre-politically correct present day.

Great Series Finds It's Footing In A TV/DVD Obsessed World
Yes, It has finally happened: Warner Bros./HBO Productions has announced that a 2-Disc, First Season set of "Tales from the Crypt" will be released on July 12th. The first season consisted of six episodes that fit quite nicely on this set's first disc. They are: "The Man Who Was Death", Dig That cat...He's Real Gone", "All Through The House", "Only Sin Deep", "Lover Come Hack To Me", and "Collection Completed". The second disc will hold bonus features that are rumored to include 2 Featurettes: One on "Tales From Comic Books To Television" and the other on "The First Season's History." Plus a new introduction by "The CryptKeeper"(John Kassir). Now this has not been confirmed, so it's pretty much a rumor but these are the possibilities. So far, there is no cover art or any other materials but stay tuned to tvshowsondvd.com for more news info which should be coming soon! Tales From The Crypt: Season One, July 12th! ... Read more

Amazon.com

Walter Hill's colorful directorial debut has quite a cultfollowing for its toughness and violence; it may well be his best film, in fact. Charles Bronson plays a silent street fighter in New Orleans in the '30smanaged by the cool James Coburn. Jill Ireland, Strother Martin, and MichaelMcGuire costar in this spare existential Depression dirge. It owes a lot to its noir origins that Hill adores so much, yet there's somethingvery fresh and vital about its subject and approach. That's really what made so manyof these films from the '70s so endearing. An added bonus is the love and affection displayed by the real-life husband and wife team of Bronsonand Ireland. --Bill Desowitz ... Read more

Reviews (30)

One of Bronson's best
Hard Times (known as 'The Streetfighter' here in Australia) is Bronson's best movie alongside Death Wish. The film is set in the 1930's during the depression, and its recreation of this period is outstanding. This is not a movie for hard-core action/fighting fans. Like 'The Karate Kid' and 'Rocky', Hard Times has a real story and interesting characters. Bronson's character, Chaney, is humble, quiet, a bit of a loner - this contrasts nicely with James Coburn's portrayal of Speed, a compulsive gambler who sets up fights for Bronson. Strother Martin and Jill Ireland (Bronson's real-life wife until her death some years ago) are also great in their supporting roles. Nice to see an old forgotten classic like Hard Times released on DVD.

Best Bronson in Hard Times
"Hard Times" stars Charles Bronson as Chaney a down and out bare knuckle boxer trying to get by in the middle of the depression. James Coburn as Speed is the quick talking not entirely trustworthy promoter who represents Chaney in fights through out the South and Midwest. "Hard Times" is the directorial debut of Walter Hill who shows off a certain realism that would become his trademark in future works. Still, it is Bronson who is the center of this film. Perfectly cast as the aged fighter this is perhaps Bronson at his absolute best. Bronson displays a subtle complexity that is particularly effective in the love affair with Lucy played by real life wife Jill Ireland. Bronson, who was about 54 at the time of filming, is remarkably fit and completely believable even when the odds are stacked against him. The story is taught and directed in a crisp fashion by Hill. The cast is good as an ensemble lifting this underrated feature to the level of very good. Yet, it is Bronson and that one of a kind face that makes "Hard Times" a true classic of the genre.

Classic Bare Knuckle Action in the Big Easy
This movie is a classic tribute to the subject of "prize fighting". Released in 1975 and directed by Walter Hill, it centers around a 1930's depression drifter named Chaney (Bronson). Chaney is the consummate drifter ---- indifferent and reluctant to commit. However, he ends up in New Orleans and stumbles upon the local subculture of bare knuckle fighting. He then convinces a local hustler by the name of Speed Weed (Coburn) to let him be his next "hitter". Chaney's silent, strong presence brilliantly complements Speed's enormously extroverted style ---- Chaney is the soft-spoken, rugged fighter and Speed is the colorful, manager promoter. However, Chaney's reluctance to commit proves to be a reoccurring test for Speed Weed. Even with his girlfriend Lucy, played by Bronson's wife Jill Ireland, Chaney is emotionally detached and shows an easy comes, easy goes attitude.

Chaney wins a few tough illegal fights bare-fisted but Speed falls victim to his own careless wheeling and dealing and is unable to pay his debt to a gang of thugs. As a result, Chaney is forced to fight one last fight with Street ---- a big bear of a man played by Nick Dimitri. This is a climatic event in the movie with both fighters waging one of the most gripping fight scenes this side of Hong Kong. Even better ---- the fight scenes are choreographed the old-fashioned way without relying on special effects

Strother Martin provides a great supporting role as the languid and shady character known as Poe ---- he provides medical advice despite an opium addiction and his failure to finish medical school. Martin also played the prison warden in the movie, "Cool Hand Luke".

Also notable is veteran tough-man actor, Robert Tessier, who plays John Henry ---- the bald grinning tattooed anathema managed and promoted by Speed's rival, Chic Gandil ---- convincingly played by Michael McGuire.

Bronson's physique and muscular definition rivals that of any actor that I've seen portraying similar roles in movies --- even Stallone when he played Rocky. And Bronson was in his 50s'---- incredible!

Also, impressive is the cinematography ---- scenes of New Orleans boat docks, warehouse district, cemetery and French Quarter set the mood for New Orleans during the 1930's depression. Walter Hill, as always, does a good job providing visual and aural (music) elements to the movie that emphasize the culture that surrounds the characters and events.

The fights don't take place in the traditional sense --- gloved combat performed legally within the ring. Fights are illegal bare-fisted slugfests arranged on boat docks and in warehouses among crowds of gambling onlookers. You'll see plenty of the old-fashioned fist fighting techniques reminiscent of old Saturday afternoon action movies. Notice Bronson tends to fight with his arms close to his waist as if he was preparing to do a series of bicep curls ---- classic all the way.

I consider Hard Times to be a true classic. It is certainly one of the greatest films of its genre.

Hard Hitting Action !!!
A real gem ! Contrary to another review (14JAN04)- 'Hard Times' stands-out as Bronson's finest action film. A former boxer (amateur)himself; Bronson is in top form (and top shape at 52 years old !). Patrick Swayze's attempt ('Roadhouse'), to emulate Bronson never worked - simply because Mr. Bronson was an original. See this film !!!

Excellent Bronson DVD
This film is, in my opinion, one of the best Bronson films along with Honor Among Thieves, Rider on the Rain, Red Sun, and From Noon Till Three. This role is tailor made for Bronson's tough, silent persona(like Chato's Land). This film was released in 1975 but was filmed in 1974-most films, after they finish filming, go into post production, editing and then are released up to a year after they actually finish shooting the final scene. Bronson was 52 yrs old(not 54) when he appeared in Hard Times. Bronson was born in Nov. 1921 and Hard Times was shot prior to his 53rd birthday in 1974.
If you watch the scene in the meat packing plant in Clint Eastwood's film Every Which Way But Loose, it seems like a direct rip-off of the Hard Times scene in Pettibon's joint--the manager of the defeated fighter won't pay up until a gun is produced. Also, in Eastwood's sequel Any Which Way You Can, Wilson, after scouting out Philo Beddoe's fighting ability, remarks "It's been a pleasure watching you work". This, to me, is a direct rip-off of Gandil's line to Chaney after the final fight in Hard Times. Interesting to note that Hard Times was released 3 yrs before Every Which Way... and 5 yrs before Any Which Way...

I happen to be a Bronson "fan" and own most of his starring role films as well as many of his supporting role films, but even if you are not all that interested in Bronson's work, you will still probably find this an excellent film in it's own right. The DVD is, in my opinion, crystal clear both in picture and sound, and gives you the added bonus of viewing in full or widescreen formats(the widescreen is 2.35:1 and is authentic widescreen). Towards the beginning of the film, there is a scene between Bronson and Coburn which takes place in an oyster bar. At one point, when Bronson is speaking, he is cut off from the scene in the fullscreen version but is completely visible in the widescreen version. Anyway, the DVD is well worth purchasing and I trust you will enjoy the film. All the best! ... Read more

Reviews (79)

Thin plot as an excuse for the best soundtrack I've heard
As a cinematic work, Crossroads is nothing special. Except for Joe Seneca who was great as the aging blues-legend on the run from the devil, the acting is awful. Ralph Macchio is decent, except that he's doing the EXACT same character he did in Karate Kid. The love interest between Eugene and Frances is silly, shallow and simply doesn't work. The screenplay, above all, is terrible. The directing and photography are good, which makes the film at least bearable.

But the film is just an excuse for one of the most amazing soundtracks I've ever heard. Classical guitar, Robert Johnson classic blues, Muddy Waters electric blues and hard blues rock run throughout this film wonderfuly; for bluesmen and guitar lovers, Crossroads is a must. The ending with Steve Vai, above all, is one of the greatest scenes I've seen and makes the whole movie worthwile - and both Vai and 'Eugene' play a KILLER guitar (I think Stevie Ray Vaughan plays Eugene's part). Overall, a very mediocre movie and for many probably boring, but a cult classic and a musical masterpiece.

What a Great Idea For a Film!
...even though it's far from a perfect movie. So why the 5 stars? Because it's so unique, so bold, so unconventional, and so ultimately pleasing. Crossroads is a fun fairy tale that uses an accurate history lesson as its back drop. (i.e., the kind of fim the just don't make anymore.) Not to mention it has some of the best music you'll hear in a movie. And if you're a musician, and especially a guitar player, it's simply a MUST! The plot and performances have already been reviewed but I'd like to add that Macchios "less than confident" portrayal fits perfectly with the character. The biggest flaw is the horrible miscasting of Steve Vai as the resident hot shot blues man. Vai is in no way or form a blues guitarist and would never be accepted as such, and his poser/over the top performance at the end ruins an otherwise classic film moment. I always felt that Johnny Winter would have been the perfect choice for that role and they should have left Steve to do the soundtrack for the electric classical guitar pieces. The bit with the "selling the soul to the devil" was a little forced as well. All in all, Crossroads is is an uneven masterpiece. Try to overlook the bad, appreciate the good and thank all concerned for at least attempting to bring the beauty of some wonderful music to the publics conciousness. Not to mention you'll thoroughly enjoy watching it. This is one of very few films I actually hated to see end.

Just a few corrections.....
Just a couple corrections. Eugene's guitar parts were played by Ry Cooder and Steve Vai. Ry handled all of the delta blues parts, with Vai contributing Eugene's Trick Bag at the end of the film. Arlen Roth was Ralph Macchio's guitar coach.

the best music film ever
this is the most inspiring film ever made it just makes you want to pick up the guitar and play exept you dont wont to miss the film the duel at the end is the best ive ever seen it tells you the story of the misissipi delta blues and the missing song someone said to me that joe satriani played the parts that eugine did but write back and say if he did the film really opened my eyes to steve vai and recently i went to see g3 live i reccamend that as well

Wonderful!
This movie was so great i give it 5 stars! It's a well done and well written movie. I would recommend it to anyone! I saw this with my dad, and we're big movie buffs and this is both our favorite! Ralph Macchio was really good, he couldn't have done ant better! I love this movie and would reccomend this! ... Read more

Reviews (12)

Terrific cinematography only adds to a fine film
Sometimes, stunning camera work adds significant value to a film's overall merit. Case in point is 2001: A SPACE ODDYSSEY, in which the visuals (and musical score) contributed to make it one of the great films of all time. (I saw it 8 times when originally on the big screen.) Yet the acting and storyline were so nondescript that who can remember who the actors or their characters were beyond Hal? Although certainly not carrying the same weight as 2001 in the evolution of movie making, the 1993 release GERONIMO: AN AMERICAN LEGEND is elevated for the same reason, and the acting is much better besides.

Matt Damon plays 2nd Lt. Britton Davis, newly commissioned out of West Point, who arrives in Arizona in the mid-1880's just in time to accompany the savvy 1st Lt. Charles Gatewood, played by Jason Patric, on a mission to accept the surrender of Geronimo, and bring the Apache leader to the reservation. Eventually, Geronimo abandons the reservation to again take up arms against the white man, ultimately fleeing into Mexico. The local Army cavalry command led by Gen. George Crook, played by Gene Hackman, and which includes Davis and Gatewood, must then go retrieve the war chief and his followers. Robert Duvall has the role of Al Sieber, the army unit's Chief Scout.

As I've indicated, the cinematography in GERONIMO is absolutely gorgeous, the film being shot in the scenic expanses of southeastern Utah. Moreover, the acting doesn't deserve the reproach it's received. The Crook character, criticized as too bland, is played just right. By that time in his long military career, Gen. Crook had seen it all when it came to battling the Indians, and his unflappability, evenhandedness, and strength of character were fully established. There is no need for flamboyant theatrics on his part. The moody reserve of the Gatewood character is perfectly understandable. He came from a patrician Virginia family and, had it been 30 years previous, would have fought for the Confederacy. Fighting for the victorious Federals against another oppressed people (as the Southerners saw themselves) was certain to cause much self-examination. As Sieber put it to Gatewood, "You don't love who you're fighting for, and you don't hate who you're fighting against." Duvall, as Sieber, plays a role somewhat reminiscent of his Gus McCrae in LONESOME DOVE, but without the easygoing humor. In any case, his on-screen time is way too short. Wes Studi as Geronimo is more than adequate. I can't think of another Native American actor - and how many of those are there? - who could have done better. Matt Damon, as the likable Britton, serves as the film's narrator for the viewers' perspective. True, the plot incorporates no dramatic, climactic battles. That's because there weren't any in the real-life Geronimo saga, and Hollywood mercifully refrained, for once, from the unashamed embellishment of history. Rather, the story is portrayed for what it was - the inexorable, relatively low-key subjugation of one people by another - with all its attendant moral and ethical issues. The ending is particularly poignant.

Maybe I just like westerns, but I think this a wonderful, haunting film. It's definitely worth seeing, especially if you have one of those home entertainment centers that aspires to be a big screen theater.

Accurate and visually delightful
Geronimo is bringing the story and old photographs of the Apche leader and his brave warriors to life. The accuracy of such is demonstrated in various scenes reconstructed precicely from authentic photographs from the 1880's. Strong performance by "less-is-more"-Patric, and of course Studi portrays the fierce chief with irony and necessary harshness. The mood of the film is hot and lazy, with sudden bursts of violence, the trademark of a Walter Hill movie. Fine performance by the dry Hackman, and probably Duvall doing his best since the Godfather (and of course the later "The Apostle") as the wry scout Sieber. The movie pays strong attention to details such as language, manners, music, costumes and persons, all relying on historical facts. It just lacks that tiny little bit that satisfies both the average audience and the history buffs. The first group probably miss more plot, and the latter would like to see some more, i.e. how the Apache dealt with their imprisonment in Florida and the return to Oklahoma and so on. All together an honest attempt to tell the story of one of the strongest, if not wisest, personalities in the history of native Americans.

AS FAIR AS HOLLYWOOD GETS
A fair look at the clash of white-Indian civilization was in John Milius' excellent "Geronimo", the story of the last Apache captured and brought in, bringing to an end the Indian Wars in 1890. Gene Hackman plays the officer charged with negotiating and capturing Geronimo. It fairly shows brave Indians, a well-meaning government, circumstances that were beyond control of the ability to foresee, white settlers whose ingenuity made use of the land that was previously unheard of, and how these events brought about bad feelings in the Indian community. The film is even without demonizing either side.

STEVEN TRAVERS
AUTHOR OF "BARRY BONDS: BASEBALL'S SUPERMAN"
STWRITES@AOL.COM

Very Emotional
This movie was emotional and shows the war between the yankee cowboys and the Indians a.k.a Hipatchis. Geranimo leads his villagers to victory but soon comes across crazy charecters and racist cowboys like Robert Duvall. All star cast, but this movie is to emotional, very biographic and more of a documentary that a movie. Still a classic. 10/10.

A war drama that feels like a western pic.
Although the movie is based on a real U.S. Army campaign against the Apache, one feels like watching a well-made western. There are "battle scenes" that are really short skirmishes. Suprisingly, the best scene of cinematic violence is a shootout inside some bar, I mean saloon, between the heroes and a group of bounty hunters. (Hence, the title of this review.) Wes Studi plays Geronimo, an Apache shaman who refused to surrender to the U.S. and be assimilated. Being a farmer in an enclosed reservation was not his suit, nor was it for the small band of warriors who followed him as a renegade. Watching Studi, I can't help but think of his role as a Huron war party captain in "Last of the Mohicans." As in "Mohicans", Studi's character in "Geronimo" kills, both white soldiers and civilians, with cold blooded brutality. This film manages to romanticize Geronimo's noble but lost cause while also emphasizing that he and his warriors were merciless in combat and not above killing unarmed civilians. ... Read more

Amazon.com

More than merely Deliverance in the Louisiana bayou, Walter Hill's taut little tale of weekend-warrior National Guardsmen on swamp exercises reverberates with echoes of Vietnam. Powers Booth brings a hard pragmatism to the "new guy" in the unit, a Texas transplant less than thrilled with his new group. "They're just Louisiana versions of the same rednecks I served with in El Paso," he tells the levelheaded Keith Carradine.

The barely functional unit of city boys and macho rednecks invades the environs of the local Cajun trappers and poachers, "borrowing" the locals' boats and sending bursts of blank rounds over their heads in a show of contempt. Before they know it the dysfunctional strangers in a strange land are on the losing end of a guerrilla war. The swamp rats kill their commanding officer (Peter Coyote) and terrorize the bickering bunch as they flee blindly through the jungle without a map, a compass, or a leader to speak of.

Hill directs with a clean simplicity, creating tension as much from the primal landscape and the Cajuns' unsettling reign of terror as from the dynamics of a platoon of battle virgins tearing itself apart from rage and fear. Ry Cooder's eerie and haunting score and the primal, claustrophobic landscape only intensifies the paranoia as the city boys splinter with infighting (sparked by a bullying Fred Ward), blunder through booby traps and ambushes, and finally turn just as savage as their pursuers in their drive to survive. --Sean Axmaker ... Read more

Reviews (32)

A Vietnam set in Louisiana swampland
Southern comfort is a great metaphor for the Vietnam War, except instead of the Viet-Cong, the enemy is some mean and nasty backwood Cajuns you would not want to run into if you were lost in the swamp. The soldiers are really a bunch of civilians thrown into an ugly situation they really want no part of, and they are impotent weekend warriors as well, as they have to fight the Cajun's powerful hunting rifles with nothing but blanks! Powers Booth, and Keith Carradine steal the show as the two soldiers with any common sense , that want to survive the situation...gory and violent, you really get into the story as their situation keeps worsening, and the plot thickens. The score by Ry Cooder is unforgettable and haunting, and listen for some down home Cajun music in the climax...will make you think twice about heading out into the bayous of Southern Louisiana....Highly recommended.

Deliverance + Blair Witch Project = Terrible, Terrible Movie
It's like Deliverance because it has hillbillies hunting city boys and it's like the Blair Witch Project because all that happens is they wander around not knowing where to go and eventually get killed. The script is so poorly written that someone actually gets killed by quick sand. The music is awful; at one point it's a single note being played for ten minutes. The acting is horrendous; they're supposed to be convincing each other that they're seriously lost and need to think of a plan, but they can't even convince me that they're in the Bayou.
The film is classified as action/adventure, but all that happens is that they walk around for seventy minutes, deliver terrible dialogs, spend twenty minutes in a hillbilly hootenanny, and battle their pursuers in a confrontation that makes the stunts on Xena look like a Bruce Lee movie. There's a scene where a pig is cut open and its guts come out and say, "Look at me: I'm unpleasant, but an hour of me is still better than ten minutes of this garbage!"
If you like this movie, make sure to check out Battlefield Earth and Cut Throat Island.

An Extraordinary Gem that deserves more prominence
Whatver I say about this film, I can't admit to being objective about it because I adore it so much. At this point, I have probably watched it about 15 times over the years so I feel something of an expert on it.

Since others have written some very well written reviews of "Southern Comfort" I don't want to repeat what they say however a few points require clarification.

First, what this film is about. It is not, in my opinion, merely about the traditional urban/rural divide. That divide exists in the film as it does in real life. But that is not the point of the film. Nor is it an anti-white or anti-Southern screed. Although it takes place in the South it could take place just about anywhere when one realizes what the film is really about. Also both the "survivors" and the "villains" in the film are white Southerners. The "survivors" being two Lousiana National Guardsman - Spencer (Kieth Carradine) and Hardin (Powers Boothe). The "villains" being Cajun fisherman/hunters out in the swamps of Lousiana.

No, what "Southern Comfort" is really about is what happens when arrogant fools invade another people's land and start indulging in violent and hostile acts, including destroying the livelihood of the indigeneous native people (e.g. cutting their fishing nets and stealing their boats), shooting at, seizing, and taking prisoner innocent locals, blowing up their homes, abusing and torturing them (sounds all to familiar), and then wondering why they are hated so much and why the native people attack them. The message is really that simple.

It was captured in a short dialogue after the "survivors" are shown to be the last two left among the guardsmen. When they are confronted by a shotgun toting one armed Cajun (who was previously their prisoner) brilliantly played by the late Brion James, Hardin asks the Cajun, "Do you mind telling us what this [the war with the guardsmen] is all about?" The Cajun responds, "It's real simple. This is our land. We live back here and no one f***s with us here." For that reason the advertising slogan for the film - "The Land of Hospitality...unless you don't belong" - is wrong. It should have read "The Land of Hospitality...unless you misbehave and start mistreating and abusing the locals!"

If the guardsman hadn't behaved badly then they would not have had much trouble with the locals in the first place. Also, the Cajuns in the small town at the end of the film came across as quite normal and hospitable to me. Only the "swamp rat" Cajuns come across as threatening and THEY were only fighting back against violent intruders. So I have to disagree with the assessment by some that the film is anti-Cajun, anti-white, or anti-Southern. On the contrary, one of the "heroes" (i.e., survivors) is a white Southerner from Baton Rouge (Spencer played by Keith Carradine). As for the Cajuns shown in the small town, they were not actors. They were real people that were shown honestly and fairly - enjoying good food, good company, good music, and dancing.

To sum up, "Southern Comfort" is an outstanding and extraordinary film in its own right. The acting is persuasive and very convincing, especially from Fred Ward who plays a very menancing type and, of course, the much underrated and underappreciated Powers Boothe who plays the "outsider" from El Paso, Texas. The direction by Walter Hill is superb. The cinematography from the first frame to the last by Andrew Laszlo is lush, rich, and luxuriant. (It makes me want to visit the Lousiana bayou to see it for myself.) And last, but not least, the music composed and arranged (and played) by Ry Cooder is both mysterious and seductive. Few films have ever enjoyed such a perfect marriage between image and music as "Southern Comfort." The only other film that has this quality that immediately comes to mind is Carol Reed's "The Third Man" which featured the hypnotically beautiful zither music by Anton Karas. Karas and Cooder both share an indescribable special quality that is evident in both films.

The DVD transfer is outstanding. The only disappointment is the lack of any meaningful extras. Other than the original trailer there is nothing else. Okay, this is a budget priced DVD but still this film deserves better. I hope that MGM will see the light and re-release "Southern Comfort" with some useful extras like filmographies/biographies, behind the scenes photos, a "making of" documentary, and especially an expert commentary. This film definitely deserves it. Halliwell's Film Guide gives it four stars and if you know anything about Halliwell's you know how difficult it is for any film to get four stars.

So on a scale of one to five stars, I give the film five stars but the DVD four stars. Nevertheless because I love this film so much and wish it had a larger audience I will rate it five stars for Amazon.

Succeeds despite its prejudices
Walter Hill's 1981 film "Southern Comfort" slightly resembles other "hillbillies gone wild" type films like "Deliverance" and H.G. Lewis's "2000 Maniacs." Hill's filmography contains a few memorable films ("The Warriors, "48 Hours") and even more forgettable pictures ("Extreme Prejudice," "Red Heat"). Considering the man's body of work, I am willing to wager that "Southern Comfort" is his best film, an effort where nearly everything gels into a magnificent whole. Technically, the film is wonderfully brilliant, filled with compelling and well-developed characters, tremendous scenery and ominous atmosphere, menacing villains, and an incredible music score from Ry Cooder. Notice, however, that I said "nearly everything." I have serious problems with several of the philosophical tenets that lay over every part of the picture like a wet blanket. Perhaps some of the issues I had with Hill's project weren't as apparent in 1981 as they are now. Whatever the case, "Southern Comfort" is a racist film loaded with sectionalism, irrational fears, and scurrilous stereotyping. "If your claims are true," you might ask, "why have I not heard about this film before?" Good question. The answer, if you want one, concerns racism directed against whites.

The plot is deceptively simple. Set in the watery recesses of the Louisiana bayous, "Southern Comfort" tells the tale of a squad of National Guardsmen who encounter way more than they imagined after running into a trio of Cajuns during a routine training mission. When the guardsmen realize they are lost in the swamps, they decide to steal some poachers' canoes they find on a riverbank. Big mistake. As the weekend warriors float away, they notice the Cajuns watching them from the shoreline. One of the dunces in the outfit rattles off a burst of blanks from his machine gun as a sort of joke. The Cajuns don't know the gun isn't real, and one of them promptly plants a bullet into the head of the squad leader (Peter Coyote in one of his shortest film roles) from an amazing distance. The soldiers, horribly surprised by such a bloody incident, make it to shore and begin worrying about how to get out of the bayou. The compass, the radio, and the only map went down with the canoes, thus effectively trapping the men behind enemy lines. The Cajuns track the soldiers down and dispatch them with dogs, traps, falling trees, and gunfire. As the squad rapidly dwindles, the only hope is to keep going and find a way out. Hindering the quest for civilization are tensions within the group between two city boys (Powers Boothe and Keith Carradine) and two rednecks (Fred Ward and Lewis Smith).

"Southern Comfort" is an enjoyable film in many respects. The excellent cast takes most of the credit for the success of the film. Powers Boothe-great as always-plays main character Charles Hardin, a soldier who recently transferred into the Louisiana Guard from Texas. He's a city boy who despises rednecks, hates the South, and has a hard time accepting the behavior he sees from some of his squad mates. Keith Carradine plays a Louisiana city boy, Spencer, who befriends Hardin even as he feels pressure from his fellow soldiers to conform. The best performance in the film comes from Fred Ward. Ward plays sinister redneck soldier Lonnie Reece, a man who readily takes to violence in any situation. He's the one who brought along a box of live ammo, who tortures a Cajun captive, and who opposes Hardin. You'll recognize several other actors in the film, including Brion James as a Cajun, Franklyn Seales and T.K. Carter as guardsmen, and Alan Autry as the unstable Corporal "Coach" Bowden. The cast makes the movie, and ultimately saves it considering the overtones of racism and hatred in the script.

The film's prejudice against poor white southerners becomes apparent very quickly. The bad guys in the film are always rural types like Lonnie Reece or the Cajuns. Moreover, the film presents these characters as dangerously unbalanced types prone to fits of irrational violence (Reece's threats with his gun and knife, Bowden's firebombing of the Cajun trapper's home) or bouts of mental instability (Bowden's retreat into insanity). There certainly isn't any sympathy for the Cajuns in any part of the film. "Southern Comfort" presents them as filthy savages barely capable of speaking. Sure, these swamp dwellers started killing the soldiers, but they only did so after the squad stole their boats and one idiot opened up on them with a machine gun full of blanks. In fact, the guy who fired the blanks in jest is of course one of the rural rednecks in the outfit. At the end of the film, Hardin and Spencer end up in a Cajun town out in the boonies. The fear on Hardin's face underscores the fear urban dwellers should always have when confronted with a group of "dumb hicks" out in the sticks. Heck, these folks don't even have a phone! What rural stereotypes! On the other hand, the city boy Hardin-and to a lesser extent Spencer-always come across as saner, more sure of themselves, and knowledgeable. So not only do we see anti-white racism, we also get the old urban-rural sectionalism that has defined the development of the United States since its inception.

I'm still going to give the movie a good grade if for no other reason than its opulent cinematography, the wonderful performances, and that great Cajun music at the end of the film. I just didn't care for the pro-urban, hate the rurals propaganda. As though cities are safer and cleaner! Thanks once again go to MGM for releasing a DVD without any extras. All you get here is a widescreen transfer and a trailer. I recommend "Southern Comfort" wholeheartedly as long as you recognize the film for what it truly is: an intriguing story infused with questionable philosophical beliefs. Enjoy (I think...)!

good movie
I first saw this film in 1982 and I enjoyed it.The acting is good,the settings are good,the music score by Ry Cooder is superb.The cajun camp sequences are interesting..hearing their accents,watching them cut open a pigs belly.In all,a very entertaining movie to eat pizza with. ... Read more

Reviews (26)

An uneven guilty pleasure
I don't know why I am such a sucker for this film. It is too long, uneven, very slow in parts and certainly doesn't provide a happy ending. But it is one of the most honest yet entertaining westerns I have ever seen. The qimmick of using the Keach brothers as Frank and Jesse James and the Carradine brothers as the three members of the Younger family (plus throwing in the Quaid brothers for good measure)works wonderfully well. Always picturesque, frequently violent and bloody, this film evokes the unstable time just after the Civil War when the James and Younger gang were at their height. A terrific contrast is drawn between the James men, who are depicted as dedicated homebodies when not at "work", and the Youngers who are depicted as boisterous hell-raisers. Pamela Reed as Belle Starr is a standout in an already excellent cast. When Cole Younger and her husband square off for a knife fight she just smiles and declares "You boys sure do keep me entertained." The same could be said for this film. It is by far the best Jesse James film ever made, and with its sound track by Rye Cooder, a pleasant experience to revisit every year or so.

Walter Hill's best film -- an unsung classic
Just as the 80s were beginning and the Western was about to take a sad, decade long sleep, Walter Hill, fresh from his unexpected success with the gang film "The Warriors," turned out this unique and utterly remarkable Western about the James-Younger gang. Using real-life brothers to play the outlaw kin (two Keaches, three Carradines, two Quaids, two Guests), Hill crafts an intense character study that plays like a collaboration between Western great John Ford ("Stagecoach") and Japanese master Akira Kurosawa ("Yojimbo", a film Walter Hill later remade as "Last Man Standing").

"The Long Riders" is close to plotless, but it paints a fascinating picture of the gang and the family and community ties that keep them together (the Ford influence right there...community was his great theme) while delving into the nuances of each character (this is where the fraternal casting really helps out). And Hill acheives all this depth in only 100 minutes! The action sequences are the best in a Western since Sam Peckinpah; the Northfield robbery is particularly striking and brutal.

Aside from Hill and all the great actors, cinematography Ric Waite and composer Ry Cooder deserve special mention for the film's success. Waite creates an authentic "period" look with his deep, glowing photography; the DVD transfer captures this perfectly for the first time. Cooder's score is completely against the grain for the time: small, intimate, and filled with forgotten folk tunes that help paint a picture of a united, family-built community. It is almost a companion piece for David Mansfield's equally intimate score for "Heaven's Gate," released the same year as "The Long Riders."

The DVD has no extras except for a trailer, but the film is so wonderful and so rewards repeat viewings that you should grab a copy of it right away. Believe me, you'll be stunned by this piece of film art.

"I ain't aiming to do nothing...I'm doing it!"

Long Riders Is Long On Music, But Not On Plot
I saw this movie for the first time a couple of days ago. What hit me about the movie was the amount of music played in the movie. The movie is fair. Not a movie you would want to repeat several times in your lifetime. Maybe watch once and then move on. The cinematography is fine. It seemed to lack grit. I found it difficult to believe David Carradine as Cole Younger. Frank Keach was good as Jesse James, but brother Stacy Keach was passable as Frank James. I think a better rendition of the story of Jesse James and the Younger brothers was in the movie "The Great Northfield Minnesota Raid" made in 1972 as a television film (I believe). Cliff Robertson as Cole Younger and Robert Duvall as Jesse James seemed to be better renditions. The Long Riders is well made, but it seems to be missing something. Just rent it.....and if you really like the movie.....definitely buy it. Investigate the 1972 version with Duvall. Passable to good acting in the Long Riders.

the james and youngers ride again
This is the Western that out Peckinpahs Pekinpah! A gritty and bloody look at the greatest band of outlaws in American history with perfect casting and Walter Hill makes it look authentic and legendary all at once. Long Riders is a wonderful movie that hits the target and then some. It's a real Western gem.

cooler than cool
Some will get it and some won't, but Long Riders is "it"!
Great cast, great direction, and a script that blends history and myth with style.
Great photography and a great soundtrack to boot!
Plus great action, and Western mystique galore.
They don't come much cooler than Long Riders.
A classic. ... Read more

Reviews (42)

I love it to death.
This has to be one of the best action, western and gangster movies I've ever seen. Willis was perfect for the part of John Smith (his voice-over has some of the best dialogue ever and if you don't believe me check out the opening scene), a gun for hire without a conscience. All elements of each genre are highly spoken for.

The editing, dialogue, cinematography, music, direction and acting are all top class. Everything is fantastically overblown but never preposterous.

As for the film itself, it is very empty but the mood and tone are so very distant and weird, and I totally love it. Walter Hills direction is a well balanced cross between Sam Peckinpah and John Woo. And Cooder's score will transport you right into the movie even on it's own. This wall always be one of my fave movies and it is very much worthy of 5 stars.

The 2.50:1 anamorphic picture is stunning and there are rumors that Hill originally wanted to make it in B/W but New Line Cinema would not let him. To test this out turn your color right down and see how much the film's atmosphere is enhanced from already gloomy to undeniably depressing, BUT IT IS SO COOL.

The DD 5.1 sound quality on this DVD during the gunfights is absolutely amazing. It will bug the hell out of your neighbors, but who cares? Every now and again Walter Hill injects a sudden burst of ferocious, furious and brutal violence that takes your breath away. When people are killed they don't just fall down, they FLY across the room and thru windows.

Extras are brief and not very good (Cast Bios say that Die Hard 4 was released in 1998!) and there is a cool clip of Loaded Weapon 1 hidden in there too.

A letdown -- could've been much better
I actually would give this film 2.5 stars. I opted for 3 (instead of 2) because it's leaning more toward 3, as it is not boring and didn't cause me any feeling of pain.

As you probably have discovered by now, this is a remake of Kurosawa's Yojimbo, or, as more of you know, Leone's A Fistful of Dollars, starring the great Clint Eastwood. It's a pretty interesting story and concept, but in Last Man Standing the execution is not there.

For one, the characters are just plain bad. I like Bruce Willis, and here he gives a decent (at best) performance. But Clint Eastwood he's not. They try to go for character development with him (and only him) and it more or less fails. I've seen worse, but this is hardly memorable. The other characters are not even worth discussing, other than the fact that the dialogue is particularly wretched.

And then there's the action. It's simply not that good. This movie could have possibly redemeed itself had the action been remarkable. The director Walter Hill goes for the Peckinpah-Woo style of gunplay (which I happen to love), but unfortunately does not succeed. The result is a second-rate job. It's not terrible, but Rodriguez did a better job in Desperado for sure. Hill unwisely does not use enough slow motion, which is too bad. That would've helped a lot. You would think there would be a western in the past 30 years that could top The Wild Bunch's quality of action, but nope.

Not only is the action not that impressive, but there's not nearly enough of it. Leonard Maltin wrote in his review that this movie is "rife" with gunplay. In actuality, it's not. You don't get a whole lot. There should have been much more.

Visuals are uninteresting. There's not much to see. The DVD picture quality is good, though, I'll give it that.

There are no special features on this DVD worth mentioning, just so you know. A director's commentary would have added, so we could hear Hill defend this film.

The one thing I'll give this film is that it isn't boring. Fans of The Wild Bunch and John Woo will be diappointed. It passes the time fairly quickly, but in the final analysis, Last Man Standing is a forgettable movie.

a good story... poorly done
I wish to keep this short, so I'll only say this: I liked this movie better the first time-- when it was called 'A Fistfull of Dollars'.

Awful!
One of the silliest pretexts for a movie, ever! This film has all the substance of an AT&T commercial, and the "story" is nothing more than one establishing shot after another. After about an hour and a half, we get to see Christopher Walken and Bruce Willis eyeball each other and act macho... That's if we haven't fallen asleep or otherwise lost interest by that time.

At this time, you can buy a used VHS edition of this movie for $.49 on amazon, but at less than a half a buck, it's still not worth it...

A novel take on a classic movie
Akira Kurosawa's film "Yojimbo" is a cinematic masterpiece, and in the time it came out, Westerns and Samurai movies were practically one in the same. Consider "Seven Samurai" and "The Magnificent Seven" both excellent films in their own right. Similary, "Yojimbo" was remade into the classic Spaghetti western, "A Fistful of Dollars" with Clint Eastwood. It's with this remarkable history that "Last Man Standing" was made.

If you know the story fo Fistful of Dollars or Yojimbo, it becomes clear that this is a role that Willis is well-suited for. He plays a man passing through a town in the middle of nowhere, and the town's split between two rival crime families. As a man skilled with guns, he plays the families off of each other to make a buck, but can't help getting pulled into the dilemmas of this little town.

If you loved Yojimbo or Fistful, and don't want to see this movie out of fear that it will ruin the story, I would put those fears to bed. This movie takes a novel and more modern approach to the story, and Willis adds his own flavor to the 'man with no name.'

Of course, I liked Yojimbo more. But Last Man Standing is a good film in its own right, with a good performance by Willis and excellent performances by Chris Walken, Bruce Dern, and William Sanderson. The gunfights in this movie are enjoyable, but unrealistic in a sort of John Woo/Killer/Hard-Boiled style.

So, if you're interested in seeing a reworking of a classic movie, or if you just want to see a good shoot-em-up, this movie fits the bill. ... Read more

Reviews (17)

The WILD BUNCH meets APOCALYPSE NOW!
EXTREME PREJUDICE is a wild-ride, action-packed "tribute" to the unashamedly "macho" movie genre. It works because Walter Hill's directing is paced at 8000 rpm's and never idles below 6000. John Milius (co-author of the script to "Apocalypse Now!")has contributed a story which is surprisingly complex and engaging. The cast is first rate across the El Paso border into old Mexico and the 6th Estate of the modern Drug Lords. Dressed in black like a grand inquisitor, Nick Nolte is buff and bad as steely-eyed Texas Ranger Jack Benteen. Powers Boothe...elegantly garbed in plantation owner's "first communion" whites...plays Cash Bailey; Nolte's main boyhood compadre, who has become King of the Hill of a drug empire operating like a military staging garrison in Durango. Into the mix is Maria Conchita Alonso...a could-be pearl of great price...over whom the former friends' rivalry is stirred like the proverbial sword in the fire. Michael Ironside does not disappoint as Major Hackett, a Black-OPX's commando...leading an elite NCO squad on an illegal "mission impossible"...who has his own treacherous agenda. The action is violent and unrelenting until the final climax which...as other reviewers have observed...seems deliberately lifted from Sam Peckinpah's, THE WILD BUNCH. The violence is neither gratuitous nor satirized, and there is a quality of irony in the film that could easily be missed. Jack Benteen/ Nick Nolte portrays a "good guy" who "in the olden days" might well have been The Lone Ranger. The glib repartee of Powers Boothe trying to probe how his former amigo could be such a fool (when drug-doing yups really "love the stuff!" he peddles), hits a quiet chord because heroes like Jack...as William Forsythe, playing one of the betrayed commandos observes..."no longer have causes to fight for, only friends." Jack Benteen is forced to kill his once-best friend because he will not bend with the jaded prejudices of the times. EXTREME PREJUDICE is a super action flick which manages to convey some archly ironic comments about a drug culture perhaps "too sophisticated" to appreciate such a macho-man movie where "The Wild Bunch" meets "Apocalypse Now!"

Great Movie!! (Lousy Transfer.._
With Walter Hill channeling Sam Peckinpah, Extreme Prejudice is a low budget film that delivers the goods. This features Nick Nolte at his prime best playing texas ranger Jack Benteen. However, Powers Boothe who plays Cash Bailey, a disillusioned lawman who crossed the line definitely makes this movie complete. This movie also features a slick and effective sub plot that is headed by another one of my favorites, Michael Ironside who plays a corrupt army major out to pull the ultimate heist at the expense of his own men. (Clancy Brown, William Forsythe and the surprising Larry B. Scott of "Revenge of the Nerds" fame)

Hill does a great job editing and building up the tension in the final act of the film culminating in one of the best free for all gun battles ever staged. I hope that the people at artisan entertainment get wise and clean up the print and properly re-release this gem from the '80s.

How Long Must We Wait??!!
Plenty of other reviews here give a synopsis of this story so I'll skip that part, and get to the "Oh how I love this movie" part.
I first saw this Walter Hill movie around '88, and only on VHS, and it has always been on my top 10 list. Back in the day's before Robert Rodriquez,and Q.T. And when those of us on the east coast had no access to Hong Kong Cinema, Walter Hill was a name action fans looked for, along with the better known names of stylized action, Sergio Leone, Sam Pe