Tag: walter hill

The Warriors

The Warriors (1979)
★★★ / ★★★★

It’s sort of a miracle that Walter Hill’s “The Warriors” manages to work as an action film because it is driven only by two factors: visual pageantry and unadulterated attitude. It thrusts us into a world of street gangs—communities—that constantly fight for their place in New York City. We are not informed when the story takes place, but I think it is set some time in the future when rule of law barely has a grasp on the rest of society. The movie is fresh, entertaining, at times episodic, and transportive in that we crave to know more about its universe and its characters who value belongingness and the idea of family above all.

The plot is straightforward. During a gathering in the Bronx, the beloved leader of the Gramercy Riffs named Cyrus (Roger Hill), who has just delivered a speech about the importance of maintaining peace amongst the gangs, is shot dead. Chaos ensues, cops arrive at the scene, and soon enough The Warriors are framed for the murder. The Warriors’ even-tempered leader, Swan (Michael Beck), decides that they must make their way home from the Bronx to Coney Island—which will be not an easy task considering the likelihood that they now have a bounty on their heads.

The Warriors encounter a handful of groups on their way home, but each confrontation is different and memorable. For instance, the first gang we meet, The Orphans, actually possesses the numbers to stop The Warriors and deliver them to the Riffs. Members are on the streets, inside buildings, atop roofs. But notice how the screenplay by David Shaber and Walter Hill underscores the personality of this group, how their toughness and grittiness is a mask (maybe that is their real costume), how most important to them is idea of being recognized and respected by other groups. And why is that? Because they grew up as orphans. They yearn to feel wanted, to belong, to be regarded as worthy. What could have been a standard fist-fight and the like is turned into something else worthy of thought and consideration.

Another example: Crossing paths with the a group who refer to themselves as the Baseball Furies. Unlike The Orphans, they are not given a chance to speak. However, the camera inspires us to study them: how they wear matching baseball uniforms, how they don various colors of paint on their faces, how their expressions are mostly blank. Clearly, these are men who are strong and not afraid of confrontation. Thus, The Warriors must deal with them in a different way than they did The Orphans. Throughout the picture, this level of thought and freshness is maintained—which creates an engaging experience.

There is one aspect of the film that should have been explored which might have helped to take it to the next level. Of the nine unarmed Warriors delegates sent to Van Cortlandt Park, there are two strong personalities: Swan, the natural leader, and Ajax (James Remar), the brute spitfire. Some level of respect can be felt between the two, but it is apparent that the latter genuinely believes he is the better leader. And so there is conflict there, beginning with what to do as a group following the assassination. Moments of conflict between Swan and Ajax are telling, but there aren’t enough of it. The Warriors must face other gangs, but there is also tension within the group. Surely there is more drama to be mined from two fronts than just one.

Nevertheless, what’s at offer in here is fun, creative, very much worth seeing at least once. It is consistent in drawing a smile on my face because although it is an action film, there is barely any visual effects employed. Explosions and shootouts are kept at a minimum. Here is an action picture stripped bare. And how it dares to top itself one scene after the next. Do not miss this.

The Assignment

The Assignment (2016)
★ / ★★★★

With a ludicrous premise that is sure to turn heads, it is a disappointment that Walter Hill’s “The Assignment” fails to aspire to become more than what is ultimately delivered. As an action film, it is tiresome and uninspired, composed merely of shooting guns and almost always the target being hit. As an exploitation picture, the more interesting route, it is neither dark nor pulpy enough to pass as an entertaining bad movie. Its look, tone, and overall feel resembles that of many forgettable works with an interesting plot but boring execution.

Michelle Rodriguez plays a hitman named Frank Kitchen who is forced to undergo a gender reassignment surgery in the hands of Dr. Jane (Sigourney Weaver), desperate to avenge her brother that Frank had killed. While it is commendable that Rodriguez chooses to take her role seriously, allowing her to play a man during the first act of the picture is a mistake so dire, it derails any level of believability in a plot that already demands the audience to take a leap of faith.

The filmmakers ought to have realized that simply slapping a beard on Rodriguez does not work at all. Although the performer has a charming masculine presence, her frame is feminine, the way she moves is quite soft, and her posture whether standing up or sitting down is not at all masculine. The filmmakers realize this, I think, and so eventually there is a walking-out-of-the-shower sequence spotlighting Rodriguez with chest hair and a prosthetic penis. The whole charade is so ridiculous that I don’t think anybody who’s paying attention would be able to keep a straight face. I certainly couldn’t.

A storytelling technique that is mildly interesting involves Dr. Jane in a psychiatric hospital after Frank had gotten his revenge on the person who butchered him. Since we already know whether or not the “villain” would get her comeuppance, we cannot help but question why we are spending time with this particular character. Clearly she is up to no good. Or is she? I enjoyed the dialogue between Weaver and Tony Shalhoub, a medical doctor who is assigned to assess whether the disgraced doctor is fit for trial. Unlike Rodriguez’ laughable scenes, we feel something boiling between two sharp minds. Weaver elevates this D-level misfire.

For an action picture, there is minimal suspense or thrill to be had here. The formula is as follows: Frank enters an establishment, narration is heard to provide some background, minions spot our protagonist, he starts shooting with great accuracy, bodies stack up until his main target is found. Of course, said target must die. Onto the next shoddy location.

I find it ironic that there is controversy surrounding “The Assignment” and yet the work is standard in all the wrong ways. If one were to look at good B-pictures and exploitation flicks, one would realize that such films were so often willing to push the envelope that the wrongs, weirdly enough, end up feeling right for the material. They own themselves. On the other hand, this work comes across self-conscious when it could have thrown all inhibitions to the wind and made strong statements about gender versus identity through the guise of solid popcorn entertainment.