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.
Friedkin's TO LIVE AND DIE IN LA has it all: suspense, twists, strong characters, the 80s electro-dance soundtrack, seduction. Action-thriller films aren't usually my type but this one surely knew how to keep me tuned for almost 2 hours. there are one or two (maybe+)worth-discussing aspects. is there any repressed homosexuality in the male characters? (in the females is evident); why does Masters burns his paintings?
Solid slice of 80´s crime noir with Friedkin delivering the goods. Everything about the movie works well but somewhere along the line film loses the urgency and drive it needs to soar. So despite fine acting and all that jazz, I think it is the plot that lets the whole thing down since we've seen this type of story a million times before. So all in all a good movie, but not great.
Incontestablement, un bienvenu chef-d'oeuvre de "sang et de feu", du thriller américain où se conjuguent et se complètent avec une efficacité rare, action, suspense, violence et mortel fatum. Une réussite évidente pour un excellent film "noir" américain. www.cinefiches.com
IMO, this is William Friedkin's underrated masterpiece. Friedkin has created such a first-rate action-crime thriller. This movie used a "brave" narrative. It makes this movie better. It isn't just about hero vs villain. It's about friendship, anger, even moral dillemma. This movie has a skillful cinematography. Wang Chung's score gave more 80's vibes in here. Not to mention that crazy "wrong-way" car chase scene...
Whilst unmistakably a product of the 1980s, To Live and Die in L.A. is an oft-overlooked gem that does plenty to separate itself from other crime dramas of the era. Friedkin avoids over-simplifying the drama by refusing to draw definite lines between the good guys and bad guys. The quality of the acting and the unpredictability of the plot trajectory, including an unconventional ending, makes this one worthwhile.
8 - Deliciously cheesy, coarse, grimy mess of an 80s thriller. In fact, if you added a couple of neon lights you might just have the most 80s film ever made. Friedkin's ability to pull off genuine amorality like very few of his peers could even aspire to also boosts this film's watchability immensely.
The film starts off as any other 80s era buddy cop movie does. From the very start this seems that this is just another cliched action film, but slowly Friedkin begins to subvert those cliches. By the very ending of the film he manages to flip the entire genre on its head! Friedkin lures you in with the tropes and comforts of a buddy cop film, but then completely changes the game by the end of the film!
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.