Lean, mean and explosively dangerous sordid thriller (with a noir vibe) by director John Frankenheimer and penned by gritty crime writer Elmore Leonard who's details plaster in an authentic charge. Roy Scheider's head-strong performance is creditability good and Ann-Margret favourably so. Where they play a married couple Harry and Barbara Mitchell, as their work commitments seems to come first in their decaying 22 years old marriage. What comes to blows is that Harry is having an affair and soon finds himself being blackmailed for it. Instead of giving in to the blackmailer's demands, he sorts out to play their games which lead him and his wife in to uncertain turmoil.
But in the end what makes the film are three prominent bad guys; John Glover (charismatically manipulative scumbag), Clarence Williams III (coldly intense) and Robert Trebor (seamlessly twitchy). Each adding their own distinguishable traits and clashing personalities that would go on to become their eventual downfalls, which Scheider's character perfectly sets out to achieve. As they soon turn on each other and watch as the tables are constantly turn in who's actually in control of the situation. Leonard's dedicated material is highly engrossing in its impulsive layout (no one is truly spared from its cruel and sleazy tone), and Frankenheimer's tough-as-nails direction is brisk, leering and intensely full-blooded in its conviction to the premise. Some set-pieces truly stand-out mixing morbidly uncomfortable humour with blaring violence.
Rounding off the cast you have a young Kelly Preston who's believably naïve and Vanity is palatable as one of the strippers working in the seedy LA backdrop. Also popping in are porn stars Ron Jeremy and Amber Lynn. Jost Vacano's burnish cinematography is on the spot, the editing is tidely spliced and Gary Chang's electrifying score packs a consuming rhythm.
Simply put this has got to be one of the best harrowing thrillers of the 80s (probably Cannon's most commendable production in its typical staples), that even harks back to the searing roughness of the benchmark 70s hard-boiled fodder.
Leonard's source material was used two years earlier in director J. Lee Thompson's middle east political thriller 'The Ambassador'.
But in the end what makes the film are three prominent bad guys; John Glover (charismatically manipulative scumbag), Clarence Williams III (coldly intense) and Robert Trebor (seamlessly twitchy). Each adding their own distinguishable traits and clashing personalities that would go on to become their eventual downfalls, which Scheider's character perfectly sets out to achieve. As they soon turn on each other and watch as the tables are constantly turn in who's actually in control of the situation. Leonard's dedicated material is highly engrossing in its impulsive layout (no one is truly spared from its cruel and sleazy tone), and Frankenheimer's tough-as-nails direction is brisk, leering and intensely full-blooded in its conviction to the premise. Some set-pieces truly stand-out mixing morbidly uncomfortable humour with blaring violence.
Rounding off the cast you have a young Kelly Preston who's believably naïve and Vanity is palatable as one of the strippers working in the seedy LA backdrop. Also popping in are porn stars Ron Jeremy and Amber Lynn. Jost Vacano's burnish cinematography is on the spot, the editing is tidely spliced and Gary Chang's electrifying score packs a consuming rhythm.
Simply put this has got to be one of the best harrowing thrillers of the 80s (probably Cannon's most commendable production in its typical staples), that even harks back to the searing roughness of the benchmark 70s hard-boiled fodder.
Leonard's source material was used two years earlier in director J. Lee Thompson's middle east political thriller 'The Ambassador'.