The first hour-ish of this film isn't as strong as Friedkin's other brutish, yet more vigorous, cop films, being more-often-than-not a standard cop-with-a-personal-vendetta-chasing-after-a-criminal film. Then it morphs into a beast of creative adrenaline, and superior twists, with probably the best car chase that I have ever seen, even topping the later Ronin. The last 45-minutes of screen time is perfect.
Jib without the swagger. A superbly sharp edged work with propellant camera choreography, crisp sound cuts and use of location. Characterisation is largely negligible but with Friedkin’s expected tropes - the intercutting, satiric flourishes (memorably the ol’ red, white and blue colour pallet) and pervasive balls deep masculinity - it’s the surface detail of broken glass that gives this leopard its spots.
CANNES Film Festival 2016 CLASSIC: 18th film viewed. Dick Chance, is a borderline FBI cop obsessed with forger Rick Masters. Dick & Rick engage in a deadly chase. Femmes fatales, breathtaking poursuits, a supercharged thriller. === Dick Chance, policier borderline est obsédé par Rick Masters, faussaire. Dick & Rick se livrent à une poursuite mortelle. Femmes fatales, courses à couper le souffle, un polar survitaminé.
Pure '80s action crime-drama from Friedkin. Couldn't go wrong with the soundtrack along with Müller's cinematography and its action-packed moments. The performances from the cast were pretty good, the storyline had some twists & turns but didn't failed to be this styled & entertaining - even though, it does have that same feel THE FRENCH CONNECTON had. A must-watch for any '80s crime thriller fans out there! 5/5
Always an exciting watch. "To Live and Die in L.A." is William Friedkin's psychedelic foray into the sun-bleached and crime-ridden streets of Los Angeles. Following a vengeful Secret Service agent as he hunts for a slick, money-laundering murderer. Great pulsing soundtrack, experimentation with visuals and editing - overall, a really innovative look at crime cinema and 80s culture.
A beautifully shot film (thanks to "Paris, Texas" D.O.P. Robby Muller), with L.A. a seductive but melancholic mirage -like Richard Chance, the vain victim of its own strutting hubris. But it plays out too much like a collection of macho cop procedurals: it's always a hair's breadth away from someone shouting: "The truth! You can't handle the truth!" To me, Friedkin's "Cruising" dealt with the cop themes far better.
3.5 is probably the proper rating of this one for me. It's another one of those unique movies that always feels like it should be better than it is, but when I get to the end of it, it simply isn't. It has its moments - particular the beginning and end.