Starring: David Carradine, Richard Dysart, Dennis Farina, Charles Haid, David Morse, Jan Michael Vincent, Howard Hesseman
WARNING: POSSIBLE SPOILERS IN THIS REVIEW
This past Christmas I received a book written by acting great David Carradine. His memoir titled “Endless Highway” talks about his life, his career and his spiritual journey. Many people know Carradine as the main character from the hit 70s show “Kung Fu”. Today’s younger generation would remember him as the titular title character from Quentin Tarantino’s “Kill Bill” movies. After reading his book, I ventured into his film catalogue to watch some movies he was in. One of the films I came across in his resume was a made for TV movie that sparked my interest. The movie was titled “Six Against the Rock”.
Not to be confused with the film “Escape From Alcatraz”starring Clint Eastwood which was about the only successful escape from the prison, this film portrays the 1946 failed escape attempt by six inmates which leads to a hostage standoff that lasted three days. Carradine plays Bernie Coy, who is currently serving a twenty-five year sentence for robbery and the architect of the escape. The other accomplices in the plan include Joseph ‘Dutch’ Cretzer (played by Howard Hesseman), Marvin Hubbard (played by David Morse), Miran ‘Buddy’ Thompson (played by Jan Michael Vincent), Sam Shockley (played by Charles Haid) and Dan Durando (played by Paul Sanchez). The plan was to escape through ‘C Block’, which was the largest unit on the rock by capturing the guards posted there and using the yard key to make their escape where they would head to the shipyard and get on a boat that would take them to San Francisco. The plan fails when the inmates cannot find the yard key among all the keys in their possession. When they try to use other keys as an alternative, the lock jams leaving them stuck in the block with the guards. Coy decides to use the guards as hostages and use them as leverage for a negotiation with the prison’s Warden. Warden James Johnston (played by Richard Dysart) refuses to negotiate and instead tries to find a way to stop the siege and rescue the guards. He calls upon the local military for help. Now surrounded by military rifles and other hardware, the inmates only option is to fight it out. Would they survive the fight?
Direct by Paul Wendkos, who was known in the business as a “prolific specialist in made for television movies, this is indeed a tightly made film that accurately depicts the events that unfolded during those three days at Alcatraz in 1946. The majority of the movie takes place in one location so it gives the movie a claustrophobic feel. When the plan fails, the inmates are left to improvise with little to no help from the other inmates. As the hours and days go by in the siege, the inmates get tired and desperate. They begin to turn on one another.
There are some solid performances in this film. First I’ll discuss the inmates. David Carradine and David Morse work great together as Coy and Hubbard. Coy is very logical with his planning and he is quick to improvise when the original plan fails. He keeps his leadership intact with force and reasoning. Morse adds ferocity and patience to the group. Despite the plan slowly unraveling, he does his best to encourage and motivate the team to not lose hope and keep their minds focus on the objective. Hesseman and Haid portrayed the vicious and unstable characters in the movie, Cretzer and Shockley. They end up being more of a liability to the team rather than an asset. They become paranoid and desperate to the point where they start to take out their frustration on the guards being held hostage against Coy’s orders. They want to show they mean business. Jan Michael Vincent who plays Buddy Thompson in the film is quiet and composed, yet he takes his orders from Cretzer. The moralist of the group is Dan Durando, portrayed by Paul Sanchez. He was convicted of murder at age sixteen and is currently serving a ninety-nine year sentence. He is hesitant about escaping from prison in the beginning of the film and ultimately gets dragged into the situation once Coy releases him from his cell. As the events are unfolding, Durando keeps his distance from the others and prevents Cretzer and Shockley from killing the guards.
Richard Dysart plays Warden Johnston who is grasping with the situation that is unfolding in his prison. His main focus throughout the film is the safety of the guards that are held hostage. The design of the prison works against him and has to rely on the military to come up with a way of diffusing the situation.
There’s not much action in the movie other than the inmates rounding up the guards and defending themselves during the onslaught of the military trying to take back the block There’s an ample amount of violence from the beating of the guards to Carradine shooting the guards in the leg at the Watch Tower. There’s enough going on to keep you on your feet.
“Six Against The Rock” is an intriguing story that tells a historic event that has been overlooked due to the only successful escape from Alcatraz that took place in 1960. It’s a movie where its characters are not just people, but of The Rock itself being a character. The movie reminds us that a plan that looks good on paper, but it may not work in real life. This movie may have been made for the small screen, but it leaves you with the feeling that you just watched a big masterpiece.
Writers: Stephen Herek (Screenplay), Domonic Muir (Story & Screenplay), Don Opper (Additional Scenes)
Starring: Dee Wallace, M. Emmet Walsh, Scott Grimes, Billy Green Bush, Nadine Van Der Velde, Don Opper, Terrance Mann
WARNING: POSSIBLE SPOILERS IN THIS REVIEW
Movies that came out in the 80s contained a diverse range of genres. We had horror movies, teen comedies, action packed film and the occasional monster movie. With the success of “Gremlins” in 1984, fledgling production company New Line Cinema looked to creating a movie similar in nature. With the box office success of “A Nightmare on Elm Street 2”, New Line Cinema got out of the red in their financial operation and had some money to invest in more projects. One of the projects that was green lit to be a “sister” film to “Gremlins” was the movie, “Critters”.
Released in 1986 “Critters” is about a group of intergalactic hairball like creatures known by their species name “Krites” that escape from a prison asteroid and use a stolen spaceship to travel to the closest planet that contained the most life for them to feed their bellies, which is Earth. Desperate to stop the Krites from invading Earth and consuming all of its resources, the warden of the prison asteroid dispatches two bounty hunters to track them down and eradicate them. The Krites land in a field in a small town in Kansas called Grover’s Bend. The people of Grover’s Bend are their own characters. You have the Brown family who live on a farm, Charlie McFadden, the town drunk and Harv who is the easily annoyed Sheriff. Jay Brown and his mischief son Bradley (Brad) head out to the field where they spot the ship crashing. They appear to find some of the herd dead with nothing left of them but their bones. Heading back to the house they encounter one of the Krites who bites several wounds into Jay as well as a poison needle that shoots from their backs, like a porcupine. The Browns become trapped in their home defending themselves against the Critters. Brad risks to find help and comes across the bounty hunters who have taken human forms. He directs the bounty hunters to his home where they see the Krites and begin a melee of destruction in order to kill them all.
“Critters” was a modest hit at the box office generating more that $13 million against a $2 million dollar budget. It would spawn three sequels, which one of them became the acting debut of an unknown kid would become an A- list actor named Leonardo DiCaprio (“Critters 3). It was another franchise New Line Cinema had under their belt with their first being “Nightmare on Elm Street”. There have been talks of a remake, but I’m not a fan of remakes nor would I encourage a remake of this film. The films may look dated and silly, but they’re packed with enough gore and humor to keep your interests high.
The cast is a mixed of veteran character actors and some that are up and coming. The two popular names on the bill are Dee Wallace, who was the mother in “ET” plays the mother in this film and M. Emmett Walsh who has over two hundred credits to his name, is best known for playing a psycho in “The Jerk” and Harrison Ford’s boss in “Blade Runner”. Dee Wallace doesn’t do much except scream and cry through most of the film. Walsh plays Sheriff Harv as a short tempered man who feels the town is becoming a zoo. The film revolves around the performances of Scott Grimes who plays Bradley Brown, the younger of the two Brown children. He is mischievous and always getting into fights with his sister, April. He becomes the hero by risking his neck to escape his house surrounded by the Krites to find help. Don Opper plays Charlie McFadden, the town drunk and close friend to Brad and believes alien life-forces are trying to communicate with him through his teeth fillings. Opper ends up playing a dual role in this film which he does a good job at. I’ll get to the dual part in a moment. Rounding out the central cast are the bounty hunters. They add just as much humor as the Krites do. The bounty hunters are named Ug and Lee (Ugly, get it?). They are faceless aliens and have transforming abilities. To “blend” in with the earthlings they may encounter, both of them look through a video of Earth and its history. Ug notices rock start Johnny Steele in a music video and transforms into him. Ug and Steele are played by Terrance Mann. Lee struggles to find a form to change into. A recurring gag in the film is Lee changing into multiple people he encounters. He eventually settles on transforming into Charlie after an encounter with him in a bar. They carry giant cannon guns to blow up the Krites, but instead cause destruction at every location they step in. Even their boss pleads with them about being less destructive. The bounty hunters would become staple characters of the eventual franchise as Mann and Opper are the only two actors to appear in all four movies. “Critters” includes small appearances from Billy Zane, who plays April’s new boyfriend, a city boy with a nice car and Lin Shaye of “Insidious” fame playing Sal the dispatcher.
The real stars of the film are the Krites. They were created by the Chiodo Brothers (Stephen and Charles) who were known for Claymation, creature creation and puppeteer work. They did a great job designing and moving the Krites. They’re described throughout the film series as “man eating hairballs”, which is true. However, they are very intelligent despite their limitations. They have red eyes, razor sharp teeth and needles that can shoot poison at their prey. They move with the speed and velocity of a cannonball. They crash land on Earth after escaping from a prison asteroid. While they repair the ship, they go off to look for food. They eat anything they come into contact with. The more they feed, the more they grow. You will see one of them in the film turn into a giant with the ability to walk upright like a human being. They come into contact with the Brown family and surround their home causing a “Rio Bravo” like standoff. The Krites are both scary and funny. There are some Three Stooges like moments they get into. One scene shows the Krites tearing up Brad’s room. One of the Krites is trying to communicate with a stuffed ET doll and when it doesn’t answer its questions, the Krite gets angry and bites his head off. Another funny moment is a Krite getting burnt by a small torch Dee Wallace uses and runs to the bathroom and jumps into the toilet.
This was the directorial debut of Stephen Herek who would go on to direct “Bill and Ted’s Excellent Adventure”, “The Mighty Ducks” and “Mr. Holland’s Opus”. I think this is a solid debut and one of his best films in his short filmography. He does some good things technically. For example, most of the film takes place at night, so Herek uses natural lighting from the moon and flashlights to create a dark tense atmosphere for the Browns as they investigate what is going on. He also makes good use of the first person view for the Krites. The camera is hovered above the ground and moves stealthily when they’re in hunting mode and then in a racing mode when they’re attacking or trying to reach their prey. The film has its slow moments, but once the Krites appear, the action and the horror pick up and doesn’t end until the final explosion.
As I mentioned in the beginning this film is very similar in nature to “Gremlins”. I used the term “sister” film because that’s what it feels like. It doesn’t have Steven Spielberg’s name attached to it, but it’s still a fun monster movie flick. It’s simple so you don’t have to worry about trying to compound narratives or hidden messages or symbolism. It’s a movie where you can lay on the couch and absorb what is taking place. The sequels that followed this film have their good moments and bad moments (mainly due to the budget going way down and the distribution being limited). I would put this movie in my Top 100 80s Films of All Time.
Corey Burton, who voices the Critters, also came up with their language, which he described in interviews as combining elements of French and Japanese.
Terrence Mann performs the song “Power of the Night” as Johnny Steele especially for this movie.
This is the second movie (the other being E.T. the Extra-Terrestrial ) with Dee Wallace in which her on-screen son heats up an oral thermometer in order to appear sick to avoid going to school. In E.T. she is fooled, but doesn’t buy it at all second time around in Critters 
Don Opper and Terrence Mann are the only actors to appear in all four Critters films. Their characters, Charlie McFadden and Ug, respectively, appear in all four Critters movies.
Writers: David Chaskin (Screenplay), Wes Craven (Characters)
Starring: Mark Patton, Kim Myers, Robert Englund, Robert Rusler, Clu Gulager, Marshall Bell
WARNING: POSSIBLE SPOILERS IN THIS REVIEW
In 1984 movie audiences were introduced to a new form of terror. They were introduced to a character who killed his victims in his dreams. They were introduced to Freddy Kruger in “A Nightmare on Elm Street.” It made over $25 million dollars in the United States box office alone and turned Freddy Kruger into a new horror icon. Despite the instant success which launched the careers of Wes Craven, Robert Englund and yes Johnny Depp, fledgling studio New Line Cinema didn’t make a profit off the film. They were still in the red and desperately trying to stay afloat. New Line Cinema Founder and CEO Robert Shaye decided to take a gamble and make a direct sequel to “Elm Street” in the hopes of creating some cash flow. Nearly a year after its initial release, New Line released the follow up film, “A Nightmare on Elm Street 2: Freddy’s Revenge.”
Instead of a direct continuation of the first film, the second film follows a whole new cast of characters, but the setting of Springwood, OH remained the same. The film focuses on Jesse Walsh, a new resident of Springwood who moves into Nancy Thompson’s old house along with his family. Shortly after moving in, he is visited in his dreams by Freddy whose goal is to takeover Jesse’s body so he can return to the physical world. The film was another financial win for New Line which got the return they were expecting plus more and thus a franchise was born. Despite the success, the film itself received mixed reviews calling it a weak retread of the predecessor and a rushed film that has poor acting, poor dialogue and not enough scares.
I loved the original “Nightmare on Elm Street” film. Recently, I watched all the sequels in the franchise (except for the 2010 abysmal reboot). After a Saturday film festival at my home I started to evaluate the sequels. It was a mixed bag. Some of the sequels I enjoyed and some I didn’t. Part 2 was the one that really stood out for me for many reasons, which I’m about to get into.
The film is pretty good technically. The picture seems to be grainy. Not sure if this is due to Jack Sholder trying to make a grittier version of the film. In the same documentary, Sholder admits that he wasn’t a fan of the first film and his objective was to not follow the template of the first film and make something completely different, which he did. With the exception of one scene, there aren’t that many creative kills that you saw in the first film or the sequels that will follow this one. The concept is bringing Freddy into the real world. You can’t do a lot of supernatural things in the real world (although coming into the real world for Freddy is pretty supernatural). Like its predecessor, the cast is made up of some relatively unknown character actors with the exceptions of Hope Lange and Clu Gulager who played the parents. Both of them have a combined sixty years of acting experience. I felt each actor fit their roles perfectly, especially Mark Patton. It’s incredible who Patton beat out for the lead role (see trivia below). Looking at that list, Patton was definitely the right choice. Although Patton had a few acting credits before doing this movie, this film is really an introduction of who Mark Patton the person is. The chemistry he had with Kim Myers who plays Lisa, his close friend and love interest is strong and they balance each other out (Patton and Myers remain close friends to this day and travel to Horror Conventions together).
The opening scene of the film is Jesse and two girls sitting in a school bus on his way to school. Suddenly the bus driver speeds up and plows through a desert where the ground begins to crack and sink and Freddy appears as the driver. This film tells you from this opening scene that Freddy is about to take Jesse for a ride and you the audience are going to be there with him. That opening shot is a credit to Sholder’s visual technique that you will see all throughout the film.
“Nightmare on Elm Street 2” is regarded as “The Gayest Horror Film Ever Made.” And there’s truth to it. The film is known for its notoriously homoerotic subtext. You see it throughout the entire film from the characters to the props and the story. The writer of the film David Chaskin was working at New Line Cinema in another department and had written a treatment for a potential sequel that dealt with the paranoia of AIDS and homosexuality and incorporated Freddy Krueger as the disease. New Line Cinema chose his script and got the ball rolling on production. If you watch the series documentary “Never Sleep Again”, the crew from the film and even Robert Shaye talked about how they never intended it to be a gay film. Even director Jack Sholder didn’t admitted that he didn’t have the self-awareness to believe that anything they were doing would be interpreted as being gay. One production designer said in best in the documentary, “We were all incredibly naïve or all incredibly latently gay!” I enjoyed this film due to the fact they were able to take a real issue in society and create a narrative for it that was shocking and scary.
The film primarily focuses on Jesse and Freddy’s relationship to each other. Mark Patton, who plays Jesse in the film was openly gay in real life (although he had not mentioned it to anyone on the set) and incorporates the struggles of his sexuality into Jesse. Jesse becomes attracted to both his male and female close friends in Lisa and Ron Grady. Lisa is obviously attracted to Jesse, but throughout the movie, Jesse seems timid and shy around her, but when it comes to Grady, he instantly clicks to his bad boy persona (which most girls in society today seem to be attracted to). Meanwhile Freddy is trying to convince Jesse to kill for him. Freddy represents the self-hatred that one might have of the thought that they may be homosexual. Robert Englund does a brilliant job of using seduction and manipulation to get to Jesse and use him for his own desires. This is relatable to what is going on in society today with the sexual abuse allegations and the Me Too movement. Men using methods of persuasion to get to the body of a woman. The victims in the movie are seen as a threat to Freddy in a way that is considered jealousy. He is removing obstacles so that no one interferes with Freddy’s impending host. Finally, the sequence of Freddy tearing through Jesse’s body can be interpreted as Jesse “coming out”.
The props and scenes in the movie heightened the narrative. When Lisa is helping Jesse unpack his belongings and puts some things in his closet, you can see a board game titled “Probe”. In Jesse’s room he has a sign on his front door that says “No Girls Allowed”. I don’t think you see a lot of teenage boys have that kind of sign in their room. In one of the night sequences when Jesse is getting out of bed, it is so hot in his room you can see his candle melting and shaped like a part of the male genitalia. If you look closely in the shower scene, the shower heads are phallic shaped. In the scene where Coach Schneider is attacked by presumably Freddy, tennis balls are popping out of their cans, Schneider is tied up in the shower by jump rope and flying towels begin to snap at his bare bottom. There was definitely something Freudian going on in that scene.
Finally, “Nightmare on Elm Street 2” has a fairy tale side to it, which involves Jesse and Lisa. Because she is in love with Jesse, Lisa is trying to save him from Freddy but doesn’t know how. She pleads with Jesse to let her help him, but he pushes her away. When he transforms into Freddy and escapes, she chases him down and continues to plead for him to come back to her. In a ‘Beauty in the Beast’ moment, she says she loves him and the beast (being Freddy) dies and out of the ashes comes the beauty (Jesse). They hold each other in their arms and embrace that their nightmare is over….or is it?
To recap, I strongly affirm my opinion that “Nightmare on Elm Street 2” is the strongest of the sequels in the “Nightmare” franchise. Unlike the latter films which were comical and cartoonish, this film feels real and authentic. This movie still holds up more than thirty years later and it is a social film that can be explored, enjoyed and talked about for many decades to come.
New Line Cinema originally refused to give Robert Englund a pay raise, and an extra was cast as Freddy at the start of production. The extra appears in the shower scene where Jesse turns into Freddy, He simply wore a rubber mask and moved like “Frankenstein”. After two weeks of filming, director Jack Sholder convinced New Line Cinema CEO/Founder/Executive Produce Robert Shaye that this was a terrible lapse in judgment, and Shaye met Englund’s demands to return for the sequel.
The only “Nightmare” film in which the lead character is male.
Mark Patton beat out Brad Pitt and Christian Slater for the role of Jesse.
Apart from Robert Englund, this is the only film in the franchise to neither feature an actor from a previous film, nor have one return in a sequel.
New Line Cinema CEO/Founder/Executive Robert Shaye wanted to play the character of Grady’s father. However, director Jack Sholder told him that he “Needed a real actor to play that role.” Fearing that he would be fired after the comment, Sholder cast Shaye as the bartender in the S&M Bar that Jesse visits in the film.
Special Effects man Rick Lazzarini created a “demonic parakeet” puppet for the scene in which the Walsh’s pet bird flies around and explodes. His puppet was not used because the filmmakers wanted to use a regular looking bird.
Kevin Yagher replaced David Miller as the makeup effects artist. Studying pictures of burn victims, Yagher redesigned Freddy’s look to bring out the facial bones and more scaring. He would go on in his career to create the Chucky doll in the “Child’s Play” franchise.
Writers: Paula Gosling (Novel: ‘Fair Game’), Sylvester Stallone (Screenplay)
Starring: Sylvester Stallone, Brigitte Nielsen, Reni Santoni , Art LaFleur, Brian Thompson, Andrew Robinson
WARNING: POSSIBLE SPOILERS IN THIS REVIEW
Ahhh the 80! The decade that gave birth of the blockbuster action movie genre. The world was introduced to such action starts as Arnold Schwarzenegger, Bruce Willis, Steven Sea gal and of course Sylvester Stallone (even though he was introduced to us in 1976 with ‘Rocky’). By the time 1986 came around, Stall one’s career was bubble waiting to burst. That burst happened with ‘Cobra’. Despite its worldwide gross of $160 million (as of today according to Wikipedia) it was universally panned by critics due to its level of violence, poor dialogue and an uninspiring villain. People will argue today that Cobra is a movie that has stood the test of time when it comes to an Action movie whereas others see the movie as completely dated and wouldn’t watch unless they were tied to a chair and had their eyelids close pinned to their brows so they couldn’t shut them. I have to say that ‘Cobra’ is one of my all time guilty pleasure movies. I can watch this over and over again with my hand slapping my knee at the delivery of the corny dialogue or be sitting up straight with my head stretched out and tensed during the big chase sequence.
For those who’ve never seen ‘Cobra’, the plot is pretty simple. Stallone plays Marion Cobretti aka the Cobra, who is a member of the LAPD’s ‘Zombie Squad’, a squad of elite cops. The tagline to describe the cops is, “Crime is a disease, meet the cure!”. He is tasked with stopping the Night Slasher, a serial killer who is the leader of an underground gang dubbed ‘The New World’. Their mission is to “kill the weak, so the strong survive.” One night, supermodel Ingrid Knusden (played by Stallone’s wife at the time and model herself, Brigitte Nielsen) witnesses the Night Slasher killing an innocent bystander and thus becomes a target for his next kill. The Night Slasher attempts to kill her in an altercation in a parking lot where Ingrid just finished a photo shoot, but is able to hide and survive. She goes to the LAPD where they are able to make a sketch of the suspect and check Ingird into the hospital for observation. After a failed attempt by the Night Slasher to kill Ingrid at the hospital, she goes into witness protection with Cobretti being the bodyguard. During their time in hiding, they begin to get quite acquainted and end up becoming attracted to each other. Without going into further detail of spoilers, it all leads to a showdown between Cobra and the Night Slasher with some comical back and forth between the two.
The concept of ‘Cobra’ came from Sylvester Stallone. I didn’t know this until I read the history, but Stallone was the original choice to play Axel Foley in ‘Beverly Hills Cop’. He wrote a treatment for the film and submitted it to Warner Bros. The studio rejected it because they felt the type of film that Stallone wanted to do was going to be too costly. Stallone kept some of the ideas from his treatment and pulled elements from Paula Gosling’s novel ‘Fair Game’ (which was later turned into a 1995 movie starring Cindy Crawford and William Baldwin that failed miserably) and wrote the film that you see today.
I can’t recall the first time I saw ‘Cobra’, but I do recall that I wasn’t very fond of it. I found it a little boring and I thought the performances were pretty one dimension. I found a DVD copy of the film many moons ago at a local video shop. I was on an action movie high at the time and started collection a bunch of Sylvester Stallone movies and the movie was only $2 so I said to myself, “What the hey, I’ll give it another chance!” I purchased the DVD and went home that evening and re-watched it. I still found the performances to be one dimensional and stereotypical, but something inside me was enjoying the movie. Maybe it had to do with I wasn’t taking the movie as serious as I did when I first watched it. After several more viewings I found this movie to be enjoyable. It may not be the best action movie and it may not be Stallone’s finest performance, but to me it’s fun and funny. It’s a movie that tries to take itself seriously, but it’s hard to take it seriously.
Sylvester Stallone’s performance can be wooden at times, but he can express a sensitive side to his rough image and aggressive police style. This is shown throughout the movie with his relationship with his partner, Gonzales. Cobra is vocal several times about how bad Gonzales’ sugar diet is and is always recommending him to change his eating habits, even going as far as recommending healthier snacks to eat. He is just as sensitive to Ingrid and opens up to her when she asks him why he doesn’t have a woman in his life. His answer speaks true to his character.
Reni Santori plays Cobra’s partner Sgt. Gonzales. Gonzales is stuck to Cobra like glue. They have great chemistry together and you know that he will always have Cobra’s back which is shown during the climax of the film. Santori is no stranger to playing this kind of role. He also played Clint Eastwood’s partner in ‘Dirty Harry’. The film has much homage to ‘Dirty Harry’ that I don’t think Santori needed a lot of preparation for his role.
Brian Thompson plays the Night Slasher. Although he doesn’t have many speaking lines, it’s his physicality and body language that frightens the audience. He portrays the character as an animal stalking his prey. You see shots throughout the movie of him shifting his eyes and quickly moving his head being mindful of his surroundings. He walks slowly towards the prey almost like an old cartoon character when you seem them tiptoe out of a situation. He uses stealth to get close to his victim and then strikes without warning with the curved bladed knife with spikes sticking on the outside (kudos to knife designer Herman Schneider).
Lastly, there’s Brigitte Nielsen, who plays the role of Ingrid, the only witness to get a visual look on the Night Stalker. Obviously Nielsen got the role due to her marriage to Stallone. She doesn’t offer much except for her yelling and screaming. For someone who just went through a violent ordeal with the Night Slasher in the parking lot, she doesn’t seemed emotionally distraught. It’s almost as if it never happened. I don’t know if that was her intention to shut it out as a lot of trauma victims do, but it seems she was ready to get off the hospital table and go back home. It doesn’t matter who played this role. You could get Jane Seymour and she would plays this role exactly as Nielsen did.
One of things that ‘Cobra’ does well is address some of the issues during the time including the decay of urban society, police brutality and the rise of criminal gangs. The movie takes place in Los Angeles at a time when crime was rampant and you had Skid Row where law enforcement at the time was beginning to crack down on the homeless population from sleeping on the streets. During a sequence where Cobra is going around the city trying to get information about the Night Slasher, you see shots of homeless people, prostitutes, drifters and slackers. When you watch the opening credits to the film you see a gathering of people from all walks of life You see street thugs , men in business suits and if you pay close attention, you can see a few law enforcement offices as they bang their axes together in a sign of unity. Their purpose is a playbook taken from the concept of Social Darwinism, “Survival of the fittest”. They kill anyone they deemed weak or unfit for society. That is a credit to director George P. Costmatos. Cosmatos did a decent job considering what he had to work with and the difficult relationship he had with Stallone despite them working together previously in ‘Rambo: First Blood Part II’. Cosmatos is a hit/miss director. He’s made some flops, but he has also made one of the best Western films to come out in the 90s and that is ‘Tombstone’. I’ve enjoyed the films that he has created even if they are blatant rip-offs of other movies (Hint: This will be the only movie of his I’ll be reviewingJ)
From the law enforcement side of the film, you have Stallone who is a cop who takes the law into his own hands and he battles internally with his supervisors who still believe in upholding law. You see a trope very quickly in the movie with the constant battle between Stallone and Andrew Robinson, the ‘by the book’ detective who gets the chance to chime his two cents into Cobra during every encounter and berate him for his tactics and demeanor. Every cop film always has a cop going head to head with a superior.
Perhaps the fun theme of the film if there is one is the product placement. It was all about advertising and marketing in the 80s. You see that in the beginning confrontation in the film where Cobra is hiding behind a Pepsi machine and sees right in front of him a stack of Coors. He opens a tall room temperature one and takes a sip. As he runs away, the psycho shoots at the Coors can and then the Pepsi logo (Possible stand against advertising?). When Cobra returns to his apartment and turns on the TV, the first ad that appears is a Toys R Us add Another over the head shot when Cobra is back at his apartment is a lit-up Pepsi sign that is a source of light for him. When they stop on the way to the safe house, Gonzales gets a drink from the Coca Cola vending machine. Finally, in the bar scene, there is a huge Miller Genuine Draft sign. I’m sure these companies helped pay for the film to get their ads spread across.
There’s just enough action to satisfy the appetite of the action movie fan. The action is all too familiar as you see in action movies time after time, but there are a few standout moments. One of them being the final death scene. I won’t spoil that for you. There are enough explosions, guys getting thrown off motorcycles and even orange trees on fire. Oh and you can’t forget about that great 80s soundtrack that is blasted through the segments of the movie. Robert Tepper’s ‘Angels in the City’ that is played during weaving segments of Cobretti talking to his connections looking for information, Ingrid’s photo shoot and the Night Slasher’s endless pursuit of her shows the power that music had during this period. Lastly, there’s the dialogue. Yes, the dialogue in this movie is a trope unto itself. It’s cheesy and schlocky, but you’ll get some laughs out of it. There are some hilarious quotes in the film which will be posted at the end of this review that were delivered with a deadpan style courtesy of Mr. Stallone.
Again ‘Cobra’ is not one of Stallone’s best action movies. It’s memorable in its own way. It’s a good popcorn flick you can watch with your friends, laugh together and make fun of if that is your cup of tea. If you’re looking for an action movie that doesn’t take itself too seriously, then check it out.
A very rare work print of the movie is available amongst fans. Although most copies are in poor quality, it has approximately 30 to 40 minutes of footage including all the X rated material that was removed from the final cut.
The custom 1950 Mercury driven by Cobretti in the film was owned by Sylvester Stallone. The studio produced stunt doubles of the car for use in some of the action sequences.
At one point during filming, Sylvester Stallone complained to cinematographer Ric Waite that they were falling behind and that he and his crew needed to work harder. Waite responded by saying, “Maybe if Stallone gets his hands off Brigitte Nielsen’s ass and stops showing off to his bodyguards, maybe they wouldn’t have problems with time!”
None of the supporting cast or crew were allowed to talk to Sylvester Stallone during filming.
In the original script, Night Slasher was called Abaddon.
For the Night Slasher’s monologue in the final confrontation, Brian Thompson did the scene with the script girl because Sylvester Stallone was off watching a basketball game on television.
When the movie came out Sylvester Stallone allegedly wanted the novel ‘Fair Game’ reissued with himself credited as the author, however original author Paula Gosling intervened and it never materialized.