A gang of ruffians ride into a small town and scare some folksy gold miners. During the fracas, a little girl’s dog gets gunned down by one of the no-good sons-a-bitches. The chick then asks God for revenge and The Almighty sends her Clint Eastwood.
Now that’s what I call service!
Clint plays “The Preacher”. He goes around acting pious and wearing a white collar, but when push comes to shove he’ll gun you down quicker than you can spit. He sides with the poor miners and protects them against the banker villain (Richard Dysart) and his hired thugs.
Pale Rider is kinda like a lightweight companion piece to the vastly superior High Plains Drifter. As with that film, Clint is a gunfighter that is possibly a ghost that possesses seemingly supernatural powers. For instance, in the finale he appears to have the ability to be everywhere at once (kinda like Jason) while gunning down the bad guys.
Even though the film is a “Pale” imitation of High Plains Drifter, there was a sturdy enough foundation here to make a great western. Eastwood unfortunately dropped the ball in that department. His pacing is overly lackadaisical and the irritating miners get more screen time than The Preacher. Although the final shootout has it’s fair share of head shots and bloodshed; overall the flick had way too many lulls in between the gunfights to be truly worthwhile.
I guess it’s OK that Clint the director made a few missteps because Clint the actor is pretty awesome in this flick. He gets a great stick fighting scene early in the picture that would look right at home in a Kung Fu movie. The highlight of the flick comes when Clint takes a sledgehammer to Richard (Moonraker)
Paint Your Wagon is a movie that’s practically begging for you to hate it. First off, it’s a musical. Secondly, all the songs are sung by people who couldn’t carry a tune to save their life. The worst thing about the film though is it’s length. The flick runs over two and a half hours, most of which is spent on… you guessed it… singing by non-singers.
Lee Marvin stars as a prospector who finds gold while burying a dead guy (Clint Eastwood). Lee makes a deal with the deceased’s twin brother (also Clint) to get a piece of the action, just as long as they split everything down the middle. One day Lee drunkenly buys a Mormon wife (Jean Seberg) at an auction. Since Clint and Lee split EVERYTHING 50/50, they have to share her. When Marvin goes out of town to shanghai some French prostitutes for the horny miners, Clint ends up falling in love with her too. This predictably leads more shenanigans and (shudder) more singing.
The teaming of Clint Eastwood and Lee Marvin should’ve been dynamite. Unfortunately someone got the stupid idea to put them in a dumb, overlong musical. Clint Eastwood is a lot of things. A singer is not one of them. I liked him when he played The Man With No Name in The Dollars Trilogy but I wished he was The Man With No Voice so I didn’t have to listen to his cringe-inducing crooning. The same goes for Lee Marvin. He doesn’t necessary “sing” as much as he just kinda talks his lyrics. At least Marvin is good at playing the rascally old codger. What little life there is in the movie is courtesy of him. It isn’t much though.
The music hurts your ears and your eyes don’t get off easy either. The whole movie looks muddy and grimy with a color scheme consisting of nothing more than a bunch of dull browns and drab blacks. The finale where the mining town crumbles to the ground is OK but sadly that’s the closest thing you’re going to get to an “action” scene in the movie.
In short, Paint Your Wagon will make you want to Paint Your Wall with your brains.
During World War II, a private named Kelly (Clint Eastwood) learns about a secret Nazi bank filled with $16 million in gold bars from a drunken Kraut. He goads his tough-talking superior (Telly Salvalas) into getting their outfit together to blow up the bank and swindle the loot. Meanwhile a glory hungry general (Carroll O’Connor) learns about the team’s illegal mission and follows in hot pursuit.
I don’t know how I’m supposed to feel about this movie. On one hand the war scenes are solidly done and lots of stuff blows up real good. On the other hand, Kelly and his Heroes never really become fully fleshed out characters so it’s difficult to root for them. The movie is also way too long for it’s own good. An inflated running time can be good for a star-studded war movie (like The Great Escape or The Dirty Dozen), but that’s because it gives you time to care about the characters. In Kelly’s Heroes, director Brian G. Hutton (who also directed Clint in Where Eagles Dare) spends more time on unfunny gags and bizarre side business. I was able to down a few beers while watching the flick and that didn’t even help.
Even though the opening scenes hold potential, Hutton’s pacing is slower than a constipated turtle and the flick wears out its welcome pretty quickly. Hutton tries in vain to be irreverent and goofy (at one point Clint walks into a gunfight while fake Fistful of Dollars music plays) and fails miserably. I guess he was trying to go for a MASHy kind of vibe but it doesn’t really work. All of this would’ve been worthwhile had the flick actually been funny but Kelly’s Heroes is woefully short on laughs. I guess that makes it the 1941 of its day.
I like just about all of the cast members… in other movies. Telly Savalas probably fares the best but that’s mostly because he just more or less plays himself. Don Rickles is OK I guess but he’s never allowed to really shine. Although I like Donald Sutherland, he’s pretty annoying in this movie. He basically plays a hippie, which is kinda odd because THEY WE’RE INVENTED FOR ANOTHER 25 YEARS! (The hippie theme song is also perplexing considering the time frame of the movie.) Harry Dean Stanton, Stuart Margolin, and Jeff Morris are also in there too; it’s just a shame that they are never given enough screen time to become real characters.
Clint ekes by on his considerable charisma but I think the real problem lies with the
Future director John Landis was a production assistant and stuntman for the film and frequently uses actors from the flick for his movies.
Coogan (Clint Eastwood) is a laid back cop from
Taken on its own terms, Coogan’s Bluff seems at first glance like a relatively minor film in Clint Eastwood’s oeuvre. It’s a fine-tuned pseudo-western that has a fair amount of action, but it suffers from some lackadaisical pacing and a so-so ending. But before I start to criticize the film too harshly, I have to take into account that this was the flick where Clint made a smooth transition from westerns to cop movies. It’s also an important film because it’s a prototype of the modern cop genre in that Coogan has his own Pre-Plot-Mini-Adventure. You all know the Pre-Plot-Mini-Adventure. Usually, the P.P.M.A. has the hero participating in a cool action sequence early in the film that has nothing to do with the rest of the plot and only serves as an introduction to our hero and to show how much of a badass he is. (In this particular P.P.M.A., Clint tracks down a crazy, half-naked drunken Indian brandishing a semi-automatic rifle.) Although P.P.M.A.’s are nothing new (the James Bond movies started the trend earlier in the decade), I believe this was the first time we got to see one in a modern cop movie. Coogan’s Bluff is also significant for being the first big screen pairing of Eastwood with director Don Siegel, who would go on to direct four more movies for Clint, including the seminal Dirty Harry.
Like I said before, the flick has its share of faults. The biggest one is that Coogan pussyfoots around too much. I mean most of the time he’s busy poontanging around with some secretary trying to get laid while he should be out on the streets getting his job done. Luckily, he does take the time to rough up some hippies in a nightclub and gets to kick the crap out of some dudes in a pool hall. Coogan’s also the kind of guy who isn’t afraid to choke a bitch either, so he’s got that going for him.
Clint is excellent in this flick and helps it sail along through the more sluggish passages. He dials down the gruffness of The Man With No Name and adds some nice touches of light comedy in with his performance and creates a fully three-dimensional character. He also has considerable chemistry with co-star Susan (Webster) Clark, and I quite enjoyed their snappy romantic banter. (Even though he should’ve been out catching the maniac that HE let getaway!) The score by Lalo (Dirty Harry) Schifrin is also pretty badass too.
Clint’s next was Where Eagles Dare.
I don’t know if you all remember me telling ya a few reviews back how I used to love watching TBS back in the day because they would play nothing but Clint Eastwood westerns. During rainy Sunday afternoons, I’d sit in front of the tube watching the Dollars Trilogy over and over again; in awe of Clint’s badassery. When TBS wasn’t playing the Dollars Movies, they’d occasionally toss this flick into their line-up. Now no one will ever argue that Two Mules for Sister Sara is Clint’s best, but since I saw it about a dozen times on countless rainy Sundays as a lad, it comes with a certain cloud of nostalgia that makes it (for me at least) a top notch Eastwood flick.
Clint plays Hogan, a cowboy/mercenary who rescues a nun named Sister Sara (Shirley MacClaine) from some rapists. She accompanies him to a French Army fort to do some reconnaissance work and along the way he has to protect her from bandits and save her from poisonous snakes. Hogan and Sara later join forces to dynamite a bridge and team up with some Meh-hican Revolutionaries to blow up the Frenchie barracks. Predictably, Sister Sara isn’t exactly who she claims to be, so it’s OK in the end when Hogan balls her in the bathtub.
Don Siegel directs the action sequences in an assured fashion but probably let the pacing drag once too often. Things get kinda pokey by the time Clint and Shirley team up with the Mexicans but once Eastwood starts dynamiting the shit out of French people, its damn good times. There’s also a gnarly scene in which Shirley has to cauterize Clint’s arrow wound that will have you squirming in your seat too. Toss in a stirring Dollars-esque theme by none other than Ennio Morricone, and you got yourself one quality western.
Although the flick moseys along at it’s own pace, it’s able to coast on the two stars’ chemistry. They’re simply great together and their performances are what really make the movie memorable. Reportedly, the two fought constantly on the set, but I guess that helped enhance the bickering nature of their characters. Plus, Shirley is a straight-up FOX in that nun outfit. Siegel and Eastwood teamed up the next year for the immortal Dirty Harry.
Incredibly enough, Mexican monster movie maverick Rene (Night of the Bloody Apes) Cardona Jr. was the second unit director.
Clint gets the best line in the flick when he’s worrying about how the Mexican revolutionaries will pay him: “If they try to pay me out in tortillas, I’ll shoot ‘em in the eye!”
Cattleman Clint Eastwood is wrongly accused of murder and gets strung up by a bloodthirsty lynch mob. After the posse ride away, Eastwood’s neck is literally saved by Good Samaritan Ben Johnson. When he’s brought into town, the hanging judge (Pat Hingle) exonerates Clint (who now wears a scarf to hide the huge scar on his neck) and deputizes him to bring in the men who tried to hang him. While initially Clint just uses his badge to get revenge, he eventually decides to let the law handle things. Clint quickly changes his mind though when the posse shoots him in the back. After Clint gets nursed back to health by a pretty prostitute (he’s pretty much indestructible in this flick), he goes back out for vengeance.
Although the opening scene greatly resembles the look and feel of a Sergio Leone Spaghetti Western, things settle down after awhile and Hang ‘Em High ends up becoming more or less your basic routine oater. Ted (Magnum Force) Post directs the flick in his usual workmanlike style and has a tendency to let the tension lapse every other reel. (The flick runs a good twenty minutes longer than it probably should have.) However, since the core of the story is revenge, and I’m a sucker for a good revenge movie (as well as a good Clint picture) I easily forgave the flick for its various shortcomings and was able to concentrate on the good stuff.
What really keeps you watching is the cast of familiar faces. Clint gives another top notch performance here and I particularly liked the fact that his throat injury gave him a good excuse to use his gravelly voice. Hingle was also first-rate and Johnson makes a memorable impression with his brief but crucial role. The supporting cast is rife with cool villains like Bruce Dern, Dennis Hopper, L.Q. Jones and Alan (SKIPPER!) Hale, who all stand out nicely.
Eastwood gets the best line of the flick when he says, “When you hang a man you better look at him!”
Joe Kidd (Clint Eastwood) is this tight-lipped rancher guy who gets out of jail after being drunk and disorderly. A smooth talking land owner named Harlan (Robert Duvall) pays Joe’s fine because he wants him to track a Mexican revolutionary named Chama (John Saxon) who claims that Harlan’s land actually belongs to the “Meh-hican pee-pole”. At first, Joe agrees to track down Chama because he stole some of his horses, but eventually he sides with Chama and tries to make sure he gets his day in court. This pisses Harlan off and he tries to gun down Joe and Chama on the way to the courthouse. Joe doesn’t like that very much so he drives a train through a saloon and guns down Harlan’s posse.
Despite a sturdy cast, the presence of a capable director (John Sturges who also helmed The Great Escape), and legendary author Elmore Leonard writing the script, Joe Kidd is still a flat, boring, and forgettable western. Even though the flick runs a mere 88 minutes, it still seemed longer than The Good, the Bad, and the Ugly. The problem is that not much happens in the movie. Most of the middle section is taken up with Eastwood and Duvall mulling around and waiting to capture Saxon. Although the flick threatens to come to life during the rousing climax where Clint drives the train off the tracks, the excitement is short lived. It’s too little too late.
The usually reliable Eastwood seems to be phoning it in on this one and he fails to make Joe Kidd a memorable character. He gets a good scene early in the movie where he throws stew in another prisoner’s face, but by the time he gets out of jail, he pretty much becomes a non-entity in the film. If the movie belongs to anybody, it’s John Saxon. He gives a side-splitting performance as Chama, the Mexican revolutionary. His accent is fucking hilarious and his hysterical histrionics will leave you in stitches. Duvall is also good as the villain. I especially liked the way he never even bothered to pronounce Chama’s name right. (It’s pronounced “Cha-ma”, but he always says “Chay-ma”.)
The best thing about the flick is the stunning cinematography. As mentioned in my Rogue review, I have a new DVD player that up-converts DVDs to Hi-Def quality and the player enhanced the scenic plains and gorgeous desert vistas in the movie beautifully. You know you’re in trouble when the landscape holds your attention more than the plot.
Clint Eastwood stars as the mysterious Stranger who rides into the small town of
High Plains Drifter is my favorite non-Dollars Trilogy Eastwood western. It was the first western Clint directed and in my opinion, he was never better behind the camera. The barbershop shootout is some of the best stuff Clint ever did. In this scene, The Stranger spins around in the barber chair and plugs the trio of assholes who are mocking him. This guy is so smooth that he can gun down people while getting a haircut. That’s total badassery right there.
High Plains Drifter also satisfies from a stylistic standpoint. While the opening scene may make you think that Clint will be aping Sergio Leone for the next 100 minutes, the film slowly becomes something entirely unique. Eastwood drops in hints that The Stranger may actually be a supernatural apparition, and the film’s subtle otherworldly touches are what make it stand out from the rest of the pack.
Now I have to say that in interviews, Eastwood always maintained that The Stranger was avenging the death of his twin brother, who is seen being whipped to death in flashbacks and dream sequences. It’s left open-ended though, so you can infer that the guy being whipped in the flashbacks is actually The Stranger, and now he’s a ghost who is avenging his own death. I like this interpretation better. In addition to giving the film an eerie quality, it also explains how The Stranger can survive being shot at point blank range in the bathtub as well as his ghostlike appearances during the final reel when he’s dishing out justice with a bullwhip. Also, there’s mention of a restless spirit not being able to find peace until its body is placed in a marked grave. Well, during the final scene of the movie, Marshal Duncan finally gets his marked grave at the same time The Stranger rides out of town (and consequently disappears). This seems to be concretely saying that The Stranger is actually a ghost. Eastwood says otherwise and he’s the one that made the damn movie, so who knows what to believe?
Either way you interpret the film, it’s still fucking awesome. It works as both a supernatural gunslinger story and as a straight-up revenge piece. In the end, it’s the ambiguity that elevates High Plains Drifter from your typical oater and makes it one of Clint’s all time best films.
High Plains Drifter is a solid Number 4 on the Video Vacuum Top Ten for the year 1973, just below Schlock and right above Coffy.
The previews made Gran Torino look like Grumpy Old Death Wish, but there is a lot more going on than just that. Even though it’s kind of a bait-and-switch, I really didn’t mind. Would I’ve loved to see Clint Eastwood pulling a Charles Bronson and wiping out gangbangers with a Wildey? Sure. Am I glad that the flick was actually a sincerely moving character piece about a crotchety old curmudgeon who says racial slurs as much as he says the word “the”, who actually learns to care about his “gook” neighbors? Abso-fucking-lutely.
What goes down is Walt Kowalski (Clint) is pissed because his wife just died. He’s pissed that his sons are pussies and that his grandkids text message during funeral services, wear belly button rings and have no goddamn manners. He’s pissed that he’s got Asian neighbors. He’s pissed that a snot nosed priest wants to him to give confession. Basically, he’s just pissed and drinks Pabst’s Blue Ribbon like it’s going out of style.
Walt also has a badass ’72 Gran Torino and when his teenage Asian neighbor Thao (Bee Vang) tries to steal it during a gang initiation, Walt gets even more pissed. When the gang retaliates and tries to beat the snot out of Thao, Walt brings out his service rifle and threatens to blow them away. Not because they were going to beat the kid up you understand, but because they were on his lawn.
Afterwards, Thao’s family thanks Walt and gives him gifts and stuff, but since he’s perpetually pissed off, he hoots and hollers a lot. One day Thao’s sister, Sue (Ahney Her) invites Walt for a barbeque. Walt declines because he’s pissed off, but when he finds out they got beer he says okay. Then he learns that “gooks” are pretty cool people because they don’t eat dogs like he thought they did. Soon, he and Thao are hanging out and Walt starts teaching Thao how to be a real man by doing Bob Villa type shit and spouting out racial expletives at Italians.
Then the gang burns Thao’s face with a cigarette. Walt gets pissed off so he smashes in a gangbanger’s face. Then the gang rapes Sue. This gets Walt REALLY pissed.
I won’t tell you the rest, cuz Eastwood the director does a really nice twist on the expected Death Wish scenario that brings a touching closure to not only the film but to his character as well. I also appreciated how Walt still remained his usually crusty self after he became friends with his neighbors. A lot of movies would’ve pussied out and made their hero less of a potty mouth, but Gran Torino is more realistic. And that’s essentially why Gran Torino works so well. It doesn’t insult the audience intelligence. It knows that 80 something year old dudes don’t change overnight and the fact that Walt actually starts to connect with his neighbors is character development enough.
I’ve read a lot of reviews that label Walt as a racist, but I think that’s unfair. Walt hates EVERYBODY. Even the people that Walt can kinda sorta tolerate like his barber; he calls them a “Dago” and stuff. He’s not a racist, just an equal opportunity offender equipped with a top notch Bullshit Detector. It’s just his defense mechanism. Thao and Sue actually break down that wall and once he starts to like them, Walt becomes something of a father figure to them.
One small complaint I did have with the flick is that sometimes it hammered home a couple points redundantly. Like the scene where Walt’s in the bathroom during the barbeque and he says, “I have more in common with these people than I do my own family!” Duh. We know that. We can that see for ourselves Clint. I’ll let Clint slide on this though since this movie is mostly aimed at the 60+ crowd who need every little thing spoon fed to them.
Okay, so that’s one tiny thing I didn’t like about the movie. Let’s talk about the good shit. And by good shit I mean Clint. Clint IS the whole show. His character is in nearly every scene and man is he ever awesome in this flick. It’s easily one of his best performances of his career, and that’s saying something. He’s definitely going to give Stallone a run for his money for Best Actor come Video Vacuum Award time.
Also, the man sings his own fucking theme song. It sounds like Keith Richards ate a mouthful of glass. In short, put that fucking shit on your ipod NOW.
I would nominate the line “Get off my lawn!” as the best line of the flick, but I have to say Clint’s growl in this movie says it all. Every time somebody rubbed him the wrong way (which is about every five minutes); he would let out this disgruntled growl that never failed to bring the house down. Shit man, the audience was laughing more at this movie than any comedy I’ve been to this year.
Another thing that made this movie great was that it made my wife cry at the end. Not since the little Root Baby got tossed into the fireplace in Pan’s Labyrinth have I seen her bawl this much at a movie. Definitely a great date movie.
In short, Gran Torino shoots up to Number 7 on the Video Vacuum Top Ten, wedged in between Son of Rambow and Tropic Thunder.
Speaking of prestigious honors, I should be announcing the nominees for the coveted Video Vacuum Awards around the first of February. I would love to give them out on January 1st, but since our theater never gets the Academy Awardsy type stuff until after the New Year, I’m going to hold off another month. See you then…
The Dead Pool was the first Dirty Harry movie I ever saw as a kid. I loved it then and it still remains the best of the Dirty Harry sequels. 20 years later, it's become even more fun since it features such up-and-coming superstars as Jim Carrey and Liam Neeson in small roles. The Guns n’ Roses music certainly helps too.
The plot has slimy horror movie director Peter Swan (Neeson) playing the titular game in which you make a list of famous celebrities and whoever’s list contains the most dead celebrities at the end of the year is the winner. But there’s a killer on the loose murdering everyone on Swan’s list. First, junkie rock n’ roller Johnny Squares (Carrey) is murdered, next an annoying movie critic gets stabbed, then a talk show host gets blown up and finally the murderer comes after Swan. Oh yeah, and Dirty Harry is on the list too and he ain’t too happy about it either.
The film kinda takes an anti-horror movie stance, but that’s okay because The Dead Pool is one heck of an action flick. The action scenes are all expertly done by director Buddy Van Horn. Van Horn was Clint’s stunt coordinator on tons of his movies and while his style isn’t as flashy as Clint’s was in Sudden Impact, he sure knows how to film people getting blown away.
The best scene comes when the psycho tries to kill Harry using a high speed RC car filled with explosives. The toy car chases Harry’s car up and down the hilly streets of
Clint’s a little older in this one but he still knows how to pull the trigger of his .44, so it’s all good. Evan C. Kim from Kentucky Fried Movie makes a fine addition to the never-ending line of Harry’s latest ill-fated partners and Patricia Clarkson is pretty good as a TV reporter/nominal love interest. Neeson is great as the shady film director and Carrey is fun to watch in his brief, but memorable role.
I could’ve done without the lovey-dovey subplot where Harry takes the reporter on dates and she tells him about herself. These scenes slow the flick down but not too badly. There’s also a subplot borrowed from Sudden Impact where a bunch of Mafioso try to gun down Harry every twenty minutes or so. While it kinda seems out of place with all the dead celebrity stuff, I’m not going to begrude Harry any chance he can get to blow away scumbags.
As with every Dirty Harry movie, there’s got to be a catchphrase. This time out, Harry says his line in a Chinese restaurant while breaking up a robbery. Harry tells the perp that he forgot his fortune cookie, then cracks it open and reads: “You're shit outta luck!” Not Harry’s best catchphrase to be sure, but it works, particularly in the end when he reprises the line after shooting the villain with a harpoon gun.
The Dead Pool is of this writing, the final installment in the Dirty Harry franchise, but I’m still hoping that Clint will go the Rambo route and revive the character again. I’d love to see a geriatric Harry blowing away scumbags. At any rate, The Dead Pool is a fitting close to the series and is a top notch Dirty Harry movie.
Sudden Impact went down in cinematic history for the scene where Dirty Harry (Clint Eastwood) goes into a coffee shop and blows away a couple of gun-toting hoodlums and delivers the immortal line, “Go ahead, make my day!” The line was later used by Ronald Reagan and became a national catchphrase. While I personally preferred the “Do you feel lucky?” line from the original Dirty Harry film, there’s no denying just how flat out awesome this scene is. Not much of Sudden Impact measures up to that classic moment, but it’s still a highly enjoyable Dirty Harry flick.
This time out, Harry’s foe is a female Charles Bronson type (Sondra Locke) who goes on a Death Wish against the men who raped her and her sister. Harry also has to deal with a posse of Mafia hitmen who want him dead for the death of their godfather.
Sudden Impact was the first and only Dirty Harry flick directed by Clint himself and the film benefits from his glossy panache behind the camera. It’s also the first Harry movie that doesn’t mostly take place in his hometown of
In front of the camera Eastwood gives another “swell” performance. Unfortunately since this is an early 80’s Clint movie, we have to put up with his longtime girlfriend Sondra Locke. She’s OK in the role of the avenging rape victim, but the role could’ve used someone with a little more acting chops.
For comic relief, Harry gets an ugly bulldog that pisses and farts. I’m sorry but farting bulldogs just don’t belong in a goddamned Dirty Harry movie. Another miscalculation on Eastwood’s part was by having Harry have an intimate relationship with Locke’s character. Harry is a loner and shouldn’t be shacking up with emotionally unstable broads, even if they both have itchy trigger fingers. Yeah, I know that they were going for that whole “You’re like me because you blow people away!” thing, but it just doesn’t stick. Even though Harry doesn’t play by the rules and will go outside the law to get his man, he never plays judge, jury and executioner the way that Locke’s character does.
While the film runs on too long and the pacing gets kinda pokey during the middle section of the film, it’s still got Clint in classic iconic form, gunning down criminals every ten minutes or so, so it’s A-OK by me. Despite its flaws, Sudden Impact is still a fine hunk of 80’s action entertainment, enough to make anybody’s day.
Clint Eastwood returns in his third go-around as Dirty Harry Callahan. This time Harry gets saddled with a female partner (Tyne Daly) in order to take out a crazed army of hooligan revolutionaries who steal a cache of military weapons and kidnap the mayor. It all ends with a big shootout on
The Women’s Lib movement of the 70’s was in full swing at the time The Enforcer was made and I suppose that this flick was a reflection of how Dirty Harry would deal with having a broad for a partner. While this is a wonderful set-up, very little is actually done with it as it doesn’t take Harry too long to accept her as his partner. There is one fun scene where Harry sits on a hiring board, screening potential new detectives where he has to contend with the Equal Opportunity recruitment of females and insults just about every skirt in the room. Also topical at the time of the film’s release was the
Eastwood and Daly have an easy chemistry together even though the script calls for them to pretty much bicker throughout the whole movie. Daly (who of course went on to fame as Lacey on Cagney and Lacey) isn’t really as annoying as she could’ve been and handles herself well during the action. Speaking of action, the highlight comes early in the film when Harry crashes a car through a liquor store to break up a robbery.
The Enforcer is solidly entertaining, no doubt thanks to another stellar performance by Clint. The flick does however suffer from an overall been-there-done-that feeling of deja vu. In addition, James Fargo directs the material in a flat style that doesn’t do the movie any favors. The stunts are nicely choreographed but the action is indifferently filmed. Another debit is the fact that the villains are just plain boring. Compared to the skuzzy Scorpio in the first movie and the vigilante cops of Magnum Force, these guys are definitely a notch or two below the usual scumbags.
I guess the biggest gripe I had with the movie is the tone. While it’s definitely the most light-hearted of all Harry’s adventures, the downbeat ending seems woefully out of place. I know Harry has a habit of losing partners, but the ending just seems tacked on to an otherwise comic booky movie.
Yeah it seems like I’m knocking the movie, but The Enforcer still makes for breezy entertainment. While it’s probably my least favorite in the Dirty Harry series, it’s still fun and features Harry doing what he does best, namely blowing away a lot of scumbags and saying funny shit afterwards.
Harry’s catchphrase in this one is “Marvelous”. Admittedly, it’s no “Do you feel lucky?”, but it’s the WAY he says it that’s so great. He delivers the line with his usual laconic style and every time he says it, it doesn’t fail to get a laugh. The best line though comes when Harry enters the ghetto and tells his partner, “This is the Fillmore chapter of the VFW... Very Few Whites!”
Harry returned seven years later for Sudden Impact.
Sergio Leone’s Dollar trilogy concludes in smashing fashion with The Good, the Bad and the Ugly. This time out, The Man with No Name (Clint Eastwood) makes an uneasy alliance with the disgusting bandito Tuco (Eli Wallach) to find a cache of gold during the Civil War. Another greedy bastard named Angel Eyes (Lee Van Cleef) also wants to get his hands on the loot, which leads to a big showdown between the three men.
The Good, the Bad and the Ugly is Leone’s masterpiece. It’s a gigantic, sprawling epic that never fails to entertain. Like The Godfather, it’s one of those movies that if you catch on TV, you just have to watch it all the way through, no matter when you start watching it.
The film is enormous in scope and despite its steep running time (almost three hours); it’ll still hold your attention all the way through. There are subplots within subplots and they almost feel like mini-movies in and of themselves. Like the opening scenes where Van Cleef guns down two men or the scenes where Eastwood saves Wallach’s neck from the hangman’s noose or the action packed war sequences. All of these scenes play out perfectly by themselves and fit very nicely into the grand scale of the movie.
This flick also cemented Leone’s ever growing mastery behind the camera as well. Sure, A Fistful of Dollars and For a Few Dollars More were spectacular entertainments, but The Good, the Bad and the Ugly shows Leone at the top of his game. While we all know the man can do suspenseful shootouts that feature hundreds of close-ups of people’s eyes like it’s nobody’s business, Leone also handles the smaller scenes in the film with equal panache. As great as all the shootouts are, I think my favorite part of the flick was when The Man with No Name and Tuco are disguised in the grey uniforms of the Confederate Army. They flag down a troop of Yankees whom they believe are also Confederate soldiers, but mistake their dusty blue fatigues for the grey uniform of the Rebels. It’s a small scene really, but I always dug the Hell out of it.
The performances are simply awesome. As Tuco “The Ugly”, Wallach makes for a suitably slimy scumbag, but somehow still manages to make you like him, despite his backstabbing nature. In the role of “The Bad”, Van Cleef (playing a different role here than he did in For a Few Dollars More) is cold and calculating and is the ideal villain. Really though, the flick belongs to Eastwood. He delivers another incredible performance as The Man with No Name (okay, he’s really had a name in all of these flicks: Joe in Fistful, Monco in More, and Blondie in this one; it’s just a lot cooler to call him The Man with No Name) and kicks major ass. (Even though he doesn’t exactly earn his title of “The Good” since he leaves Tuco in the desert to die.)
If Eastwood’s performance is the heart of the movie, Ennio Morricone’s score is its soul. With his work on the Dollars films, Morricone without a doubt crafted some of the finest tunes ever heard by human ears. I defy you not to run around hollering “AAA AAAA AAAAAH... WAA WAA WAAAAH” after you watch this flick.
The Good, the Bad and the Ugly is one of the finest westerns ever made and is Number one with a bullet on the Video Vacuum’s Top Ten for the year of 1966.
AKA: The Magnificent Rogues.
Clint Eastwood returns as The Man with No Name in Sergio Leone’s dynamic sequel to A Fistful of Dollars. This time he’s a bounty hunter who teams up with a rival named Mortimer (Lee Van Cleef) to catch a despicable criminal named
Whereas the first film was a remake of Akira Kurosawa’s Yojimbo, this one is wholly original and frees Leone up to do whatever the Hell he wants, which is a good thing. Although I prefer the original to For A Few Dollars More, this one is bigger and bolder than its predecessor and is equally as fun. The opening scenes where Van Cleef and Eastwood collect various bounties on an assortment of greasy villains are awesome. Leone takes his time to establish the two characters and their ingenuity and cold-bloodedness help to endear them to the audience. The shootouts are all over the top, violent, and drawn out (the climatic showdown in particular), but in a good way. This way you get to savor every melodramatic eye squint, every little bead of sweat, and every note of Ennio Morricone’s wonderful score. The film’s most memorable set piece comes when Eastwood and Van Cleef show off their stuff by shooting each other’s hats.
Eastwood is yet again magnificent in the role of The Man with No Name. You just can’t say enough good things about the man, especially in the Dollars movies. The welcome addition of Van Cleef to the series adds another layer to the film. Even though Van Cleef is almost solely out for revenge, he gives his character a measure of dignity and pathos and he’s particularly good in his scenes with Eastwood. As the villain
Leone would up the ante yet again the following year with The Good, the Bad and the Ugly.
According to The Video Vacuum, For a Few Dollars More is the best movie of 1965, sitting on top of such classics as Faster, Pussycat! Kill! Kill! and The Sons of Katie Elder.
AKA: A Few Dollars More. AKA: For Some Dollars More.
Angelina Jolie stars in this Clint Eastwood directed Oscar baiting drama as a single mother living in Depression era LA whose son mysteriously disappears. Since the cops are more crooked than a stick of Nerds Rope, they find some other kid and try to pass it off as Jolie’s lost son so they can get some good publicity. When Jolie speaks up and says, “Uh, that’s not my son” they throw her ass in the nut house. That means that a preacher with a popular radio show (an extremely bored looking John Malkovich) has to come to her rescue and advocate for her release.
You get three movies in one with this flick. The problem is that only one of them is any good. Changeling starts out like a corny ass Lifetime Original Movie; then it turns into a pretty spectacular Women in Prison picture, before becoming a waterlogged courtroom drama. After that shit dies down, Eastwood starts jerking the audience around again, throwing in more false endings than Return of the King and epilogues inside of epilogues to further pad out the running time so it can qualify for more Oscars.
This movie is like a juicy cheesesteak sandwich served on moldy bread. What’s on the ends is hard to stomach, but the stuff on the inside is totally yummy. Seriously, the scenes where Jolie is trapped in the psych ward are some of the best Women in Prison stuff I’ve seen since the immortal Catherine Oxenberg classic, Time Served. In this section of the movie, the tubby female guards strip her down, turn the fire hose on her and give her a thorough body cavity search. There are also the requisite Chow Time scenes where Jolie is forced to eat slop and a hardened lifer tells her “The Rules” on how to survive. Angelina of course mouths off to the asshole doctor once too often and he’s about THIS close to giving her some good old fashioned shock treatment. Sadly, the stuffed shirt Malkovich comes in and ruins all the fun. Things quickly go down the tubes from there.
Jolie (who cries in just about every damn scene) wears more make-up than the Joker and ironically only looks hot when she’s locked up in the funny farm. (Maybe it’s just me; I’ve always been known to have a soft spot for crazy chicks.) Malkovich is strictly on cruise control, but at least Jeffrey (Burn Notice) Donovan is good as the slimy, ass-covering detective.
Memo to Clint: If you ever decide to do a Changeling 2: Electric Bugaloo, take my advice. Quit all the Lifetime Channel/period piece/courtroom drama shenanigans and focus more on the Women in Prison shit. You’re great at it. In fact, fuck that noise and just do a remake of The Big Bird Cage with Angelina as your next feature and my ass will be there.
Sometimes a movie you’ve just finished watching for the first time is a lot easier to review than a movie that you’ve already seen a hundred times. Such is the case with A Fistful of Dollars. Everyone knows that it was the movie that made Clint Eastwood a household name. Everybody knows that it was director Sergio Leone’s westernized remake of Akira Kurosawa’s Yojimbo. I don’t have to tell you the plot. (Okay, here goes: Clint is The Man With No Name who rides into town and plays the two warring criminal families against one another.) Y’all know that Clint came back in For a Few Dollars More and The Good, the Bad, and the Ugly to kick even more ass.
I mean what more is there to add about this movie that hasn’t already been written?
My two cents won’t add to or diminish A Fistful of Dollars’ reputation, but what I can tell you is just how much I love this fucking movie. I remember back in the day when I was a little kid, TBS Superstation used to be the bomb-diggity of all cable TV stations and they used to play the ever-loving shit out of the Dollars Trilogy. (Whenever they weren’t running Godzilla or Planet of the Apes marathons, that is.) They used to play Fistful at
Let me tell you something ladies and gentlemen, I spent the whole fucking day in front of the tube and loved every second of Clint blowing people away while saying as few words as humanly possible.
What I loved at that young age (and still do now) is how fucking surreal the movie(s) is. I mean there is like a larger than life hyper-reality to the trilogy that just sucks you in. Maybe it was the allure of watching badly dubbed Italians trying to pass themselves off as Mexicans that did it. (Remember, up to this point in his movie watching experiences young Mitch had only seen badly dubbed actors in Godzilla films, so watching actors’ lips running out of sync with their dialogue was still something of a novelty.) Also, I loved the extreme close-ups that were so damn close that you could only see the bridge of the actor’s nose. (Most times you couldn’t even tell who you were looking at.) Now this was the pre-letterboxing days; so all TV prints of the film were cropped beyond belief. It wasn’t until DVD came along that you could appreciate Leone’s cinematic compositions, but there is still something to be said for the utter bizarreness of staring at someone’s sweaty T-Zone right before he draws his pistol.
Then there’s Clint. The man is simply awesome in this movie. Clint is the only man in the history of cinema who can wear a fucking blanket and still look like a complete badass.
And the score. Ennio Morricone’s music in the Dollars Trilogy is some of the best music ever written. I’m not talking just music made for film I’m talking about some of the best music EVER WRITTEN PERIOD. While the theme for the first movie isn’t quite as good as the music in Ugly, it still rocks hardcore. I mean there was a time when it was my ringtone for my cellphone. Folks, I fucking hate people with personalized ringtones, so it says a lot about how much I love the music for me to put it on my damn phone.
For the sequels, Leone opened things up more, giving each subsequent film a grander scope and larger casts, but to me, I always preferred the smaller, more intimate feel of A Fistful of Dollars. I love all the movies about the same, although I must say, this was the first one I saw. This is the one that hooked me. This one is the best.
A Fistful of Dollars is so damn great that it’s Number One on the Video Vacuum Top Ten List for 1964; sitting right on top of Goldfinger.
Dirty Harry is back and this time out he has to contend with a group of vigilante rookie cops who go riding around on motorcycles cleaning up the scum of the universe that manage to slip through the cracks in the justice system.
The fact that Harry’s nemeses in this movie dish out a slightly skewed brand of justice that Harry himself is used to dealing out is an interesting jumping off point for this sequel. Unfortunately nothing is ever really done with this concept other than Harry tries to stop them. It would’ve been a lot more interesting if Harry had joined up with the killer cops temporarily and explored some sort of grey area in Harry’s criminal bashing philosophy. The filmmakers don’t really go that route though, but the fact that the villains in this one are similar to Harry himself is still pretty cool.
On the glass-is-half-empty side though, having the villains be vigilantes kinda neuters Harry’s rule-breaking tendencies. If anything it seems more like the studio’s attempt to somehow dilute Harry’s more fascist leanings and make him more “accessible”. The problem with that is that it was Harry’s willingness to sidestep the law to get the bad guy that made him who he was. Since Harry is no longer willing to toss the Constitution aside to nab his man, it makes him more of a cookie cutter good guy and less like an anti-hero, which was pretty much the whole point of the first movie. He WILL however car bomb the shit out of you if you double cross him though.
The film also suffers from some superfluous nonsense involving Harry’s dalliance with an Oriental woman who lives in his building. This fling adds nothing to the story or to his character and only succeeds in slowing things down. Also, Harry’s motto in this one, “A man’s got to know his limitations” is pretty weak. It’ll have to do I guess.
Although Magnum Force is nowhere near as dynamic a film as its predecessor, it does have some memorable scenes. The opening sequence when one of the cops pulls over a Mafioso and murders him in cold blood has a kick to it and the throwaway scene where Harry poses as a pilot to stop some hijackers is a lot of fun. There’s also a disturbing scene where a vicious pimp forces a no-good hooker to gulp down a can of Drano. The film’s centerpiece though is the shooting alley sequence where Harry and one of the recruits try to outshoot one another. While Ted Post’s direction tends to be a little flat and his pacing is fairly pedestrian, I have to give him his due on this scene. Not many directors can make shooting at cardboard cutouts seem suspenseful.
Clint does a good job here although (like the movie itself) he seems to be playing a watered down version of the Callahan of the first film. The supporting cast really helps to anchor the flick and compliment Eastwood nicely. As Harry’s boss and ringleader of the rookie vigilantes, the usual nice guy Hal Holbrook makes for an excellent villain. We also get some solid performances by the trio of young soon-to-be famous stars (David Soul, Tim Matheson and Robert Urich), all of whom provide a good foil to Squinty Eye Clint. The flick also carries on Harry’s tradition of having an ill-fated minority partner in Felton Perry, who does an admirable job with his limited screen time.
Magnum Force doesn’t quite live up to the promise of the original Dirty Harry but hey, very few sequels ever manage to top their predecessors, so who can really complain? There’s a lot more action than the first movie and the film features a fairly high body count to boot, making it a good piece of slam bang entertainment.
Whatever shortcomings the film has, it’s still a fucking Dirty Harry movie and there’s no such thing as a bad Dirty Harry movie. Just like there are no bad James Bond movies. Sure one movie may be a little bit better than the others, or one of them doesn’t quite live up to that one, but at the end of the day, as long as it features Dirty Harry with his .44 Magnum cleaning up the streets of San Francisco, it’s damned good times.
Future directors Michael (The Deer Hunter) Cimino and John (Conan the Barbarian) Milius (who did uncredited rewrites on the original) wrote the screenplay. Harry returned three years later with The Enforcer.
Clint Eastwood was a big movie star after the enormous popularity of Sergio Leone’s Dollars trilogy but it was his role as “Dirty” Harry Callahan that made him a superstar. Everyone knows the story: Harry is after the psychotic “Scorpio” (Andrew Robinson) who is holding the city of
The reasons audiences responded so well to the film are numerous. You could say it was because the flick was partially based on the Zodiac killings which happened where the film was set and Harry did what their police force couldn’t do: blow the scumbag away. Also, the film dealt with an anti-hero who didn’t play by the rules to get the job done. The vigilantism of Death Wish was still a few years away, but Dirty Harry captured audience’s disgruntlement with criminals who hid behind the law. While Harry didn’t go out and straight up murder criminals like Charles Bronson would later do, he still isn’t above bending the rules and cutting through the “innocent until proven guilty” malarkey to blow away the scum of the earth.
I think the real reason the film was a sensation though was Eastwood himself. He’s never been better (and that’s saying something) than in this flick. He’s excellent at showing the embittered rage of his character (“Well I’m all broken up over that man’s rights!”) and is pretty hilarious in the film’s lighter moments. (“When a naked man is chasing a woman through an alley with a butcher knife and a hard-on, I figure he isn’t out collecting for the Red Cross!”)
And then of course there’s the scene. You know the one. The “Do you feel lucky?” scene. Before Arnold Schwarzenegger was saying cheesy shit before killing someone, Eastwood had the speech that makes all the one-liners in the world pale in comparison. Not only that but it’s the way Eastwood delivers it that’s so amazing. And he does it twice. In the beginning he says it playfully to a perp he’s wounded while committing a robbery. In this scene, he’s just being a bad ass; saying cold-blooded shit to psyche out a low level hood. The second time he recites it is to Scorpio and he delivers it through clenched teeth in a seething rage. The first time it’s for laughs, the second time it’s for keeps. You almost get a sense that he would have blown Scorpio away with his trademark .44 Magnum even if he didn’t go for his gun. Especially since when after Harry kills him, he gets so disenchanted with himself that he throws his badge into the river. That didn’t stop him from coming back in four sequels though.
The film also defined the cop genre for the entire millennium. While Bullitt may have been the first movie about a badass cop, it was Dirty Harry that spawned the most imitations. The scene where the seasoned Harry grudgingly takes on a wet behind the ears partner has been played out thousands of times. (Heck even Clint recycled it in The Rookie.) The scene where Scorpio makes Harry run around from phone booth to phone booth is not unlike the games Jeremy Irons constructed for Bruce Willis in Die Hard With a Vengeance. And the scene where Harry saves a suicide jumper by verbally abusing him is awfully similar to the scene in Lethal Weapon. Dirty Harry was the genesis for all of these scenes that are now commonplace in the genre.
While Bullitt may have had the spectacular chase scenes, Dirty Harry is all about the character which makes it that much cooler. Unlike Bullitt, Harry is not a supercop. He’s a human being. He bleeds when he’s hurt, he gets winded when he runs and he’s not above checking out naked women through a pair of binoculars when he should be looking for his suspect. He is after all, a man.
Speaking of naked women, I hadn’t watched this movie in a long time and was surprised just how much female flesh was in this flick. Usually when I did catch the film it was on AMC or something (which means all the boobies are edited out) so I was taken a bit aback by just how many titties bounce up and down during the course of the film. Whether the gals are chilling on rooftops topless or shaking their goodies in strip clubs, the movie features a good half dozen bare exposures, something I’m sure Eastwood is particularly proud of.
Another strength the film has going for it is it’s villain. Andrew Robinson makes for one memorably skeevy psychopath. What made him great was he had no motive to kill his victims and his scream when Harry sticks him in the leg with switchblade is positively insane and will unnerve you no matter how many times you see the film.
And I cannot praise Don Siegel’s direction enough. I don’t think the man ever really got the credit he deserved for his prowess behind the camera. Siegel’s style is invisible which makes his contribution to the film that much more important. When you think Dirty Harry, you don’t necessarily think of it in terms of “shots”, you think of it as a good fucking movie. That’s the way it should be. His style never interferes with the film and he’s content on just letting you enjoy the flick instead of drawing attention to himself. Watch the movie again and you’ll be amazed just how tightly constructed each scene is. Siegel lets all of the scenes play out as they should. He never hurries them along and always gives them a payoff. The “Do you feel lucky?” scenes in particular are masterworks of manly machismo movie making.
The sequels that followed all have their merits but some of them unwisely watered down Harry’s near fascist brutality, making them a notch or two below the first one. It doesn’t matter how many sequels or imitators come and go though, the original is still the best.
Dirty Harry is Number 2 on the Video Vacuum Top Ten List of 1971, right below A Clockwork Orange and ahead of Diamonds Are Forever.
Director Clint Eastwood’s companion piece to Flags of Our Fathers focuses on the battle of
And true to the title, we see lots of motherfuckers writing long winded letters to their loved ones back home.
After about an hour of cinematic thumb-twiddling, Eastwood finally delivers on the action. Soldiers get gunned down, set on fire, and some have their arms blown off. In the film’s only memorable sequence, a bunch of wimpy defeatist Japanese dudes commit hari-kari, but since they don’t have a knife handy, they use a grenade instead! Brilliant.
Despite a decent amount of bloodshed, it comes at the expense of an extremely weak first act, and quite frankly; it’s too little, too late. Though shit DOES blow up pretty good during the mid-section of the film, Eastwood goes right back to the ponderous, slack-jawed pacing after the explosions subside. While some of the action scenes are fairly well staged, regrettably, Eastwood tosses in a bunch of those handheld Shaky-Cam scenes to make it look like we’re in the thick of an all out attack. It doesn’t necessarily make the audience feel as if we were actually there, but it DOES succeed in giving us a headache though.
Look, I know that Eastwood’s intention with this whole thing was to show you that the Japanese were not the evil Yellow Menace that
I’ll give credit to Clint because it took some serious balls (or incredible hubris, either one) to direct a major studio release in which (almost) everyone speaks nothing but Japanese for two and a half hours. Having said that; the film plays more like a melancholy, subtitle heavy art house flick than an honest to goodness war movie. If you don’t believe me then feast your eyes on the pathetic scene where some Emo soldier’s prized horse gets killed during a bombing and he just kinda sits there crying about it. It sets a new screen standard for cheesiness.
In short, it’s not the sort of thing you’d come to expect from Dirty Harry Callahan.
Clint Eastwood directed, produced and stars as a gruff Marine sergeant who has to turn a bunch of obnoxious, rough and tumble, wet behind the ears soldiers into lean, mean fighting machines. He also rekindles some flames with his cocktail waitress ex wife (Marsha Mason), butts heads with his thick skulled superior (Everett McGill from Silver Bullet) and actually gets to lead his platoon into battle in
Sure the story is rife with clichés, but Eastwood always did have a knack for fleshing out paper thin material into something you could actually care about. The young cast, which includes Mario (
The capable cast does it’s best, but unfortunately at well over two hours, Heartbreak Ridge has more than it’s share of lulls. Chief among them is the gratuitously trite subplot where Clint tries to reconnect with his ex. The scene where the battle hardened Clint is reduced to reading women’s magazines so he’ll know exactly what Marsha Mason needs to hear is especially cringe inducing. The film’s concluding token action sequence finale also falls kinda flat as it merely serves as just an exercise to show how well the troop works as a team.
But it’s Clint Eastwood who truly rescues the movie from being just another gung ho military potboiler. He has a surly demeanor in this movie that compliments his usual squinty eyed stare nicely and has a memorable prison fight scene with the great Nicholas (Don’t Answer the Phone) Worth in the beginning of the film. He also gets to say some truly priceless dialogue like “The only thing you could build is a good case of hemorrhoids!” and “Shut your face hippie!”
Clint Eastwood stars (as well as directs) as a jet pilot prone to stock footage filled flashbacks who is hired by the government to sneak into the Soviet Union and steal their experimental thought control (!?!) plane called Firefox. He dresses up like a moustached heroin smuggler (!?!) in order to get through Russian customs. Once behind the Iron Curtain, he teams up with the Resistance and meets with the scientist who built the plane. Since the plane is controlled by thought and was built in
You have to love the logic of this movie. I mean the government KNOWS Eastwood’s got Post Traumatic Stress Disorder, but they think he’ll be okay because he’ll only experience haunting flashbacks AFTER he’s finished his mission.
At least that makes SOME sense, but there’s a lot going on in this movie that makes ZERO sense. Like how come if the plane is thought controlled, why the heck would Eastwood need to push a button to fire his missiles. We also never learn how you can walk around a hanger wearing a conspicuous black helmet and flight suit without being noticed by the dozens of soldiers guarding the plane.
All of this nonsense COULD have been fun if Eastwood had played things with a sense of humor, but then again, that’s never been his strong suit. Ultimately though, Firefox is too drawn out (it runs well over two hours) for it’s own good. Far too much of the movie’s running time is taken up by Eastwood wandering around the
A who’s who of familiar English faces such as Freddie (Dune) Jones, Kenneth (The Empire Strikes Back) Colley, Ronald (Raiders of the Lost Ark) Lacey and Nigel (Demolition Man)
Clint Eastwood is a great actor and good director, and in Absolute Power he gives us farfetched plot, but pulls it off with precision and makes a great popcorn flick out of a potentially ridiculous premise. The story involves a thief played by Eastwood who is robbing the White House and witnesses a kinky affair by the President (Gene Hackman) that ends in murder. The Secret Service is after Clint, and the cops want him too, but he uses his seasoned skills to elude them at every turn. Eastwood makes a jumbled story coherent through crackerjack direction, great performances, and good editing. Hackman is good as the lecherous President and so is Ed Harris as a concerned cop. Murder at 1600 was another similarly themed President wanted for murder flick in 97.
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