Coming from a police family, Tom Hardy ends up fighting his uncle after the murder of his father. Tom believes the killer is another cop and goes on the record with his allegations. Demoted then to river duty, the killer taunts Tom.
Sarah Jessica Parker,
An aging alcoholic cop is assigned the task of escorting a witness from police custody to a courthouse 16 blocks away. There are, however, chaotic forces at work that prevent them from making it in one piece.
When a family is held hostage, former hostage negotiator Jeff Talley arrives at the scene. Talley's own family is kidnapped and Talley must decide which is more important: saving a family he doesn't even know or saving his own family.
Serena Scott Thomas
John Smith is an amoral gunslinger in the days of Prohibition. On the lam from his latest (unspecified) exploits, he happens upon the town of Jericho, Texas. Actually, calling Jericho a town would be too generous--it has become more like a ghost town, since two warring gangs have 'driven off all the decent folk.' Smith sees this as an opportunity to play both sides off against each other, earning himself a nice piece of change as a hired gun. Despite his strictly avowed mercenary intentions, he finds himself risking his life for his, albeit skewed, sense of honor....Written by
Tad Dibbern <DIBBERN_D@a1.mscf.upenn.edu>
Walter Hill later said, that he and Bruce Willis "were not close when we did the film", but "I liked working with him. It was impersonal. Classic, 'I know what you mean. You want me to be a Bogart, Mitchum kind of guy' and I said 'Exactly. Let it happen.' He then took that and gave what I thought was a very good performance. I always sensed there was a kind of core resentment that Bruce felt he should be more appreciated for his talents. At the same time I think there is a limitation, that he does certain things better than others, and he hasn't always chosen so wisely." See more »
When John Smith is talking to Strozzi's girlfriend in the car in front of Slim's he asks her a question. His lips are obviously not moving when he asks the question. See more »
It's a funny thing. No matter how low you sink there's still a right and wrong. You always end up choosing. You go one way so you can try to live with yourself. You go the other, you'd still be walkin' around, but you're dead and you don't even know it.
See more »
Macho, stylish but not very brainy, medium good film
For Last Man Standing, director Walter Hill relocates Kurosawa's Yojimbo to depression era America in a dusty desert town. There is something arguably distinctive about the flick. Perhaps it is the merger of gangster and western; something seldom seen in movies. Or perhaps it is the way that Hill's visual portrayal of a time and place seems flawless. Last Man Standing has an exceptionally retro look to it, very crusty and dusty, and also very macho.
The problem with Last Man Standing comes down to it's roots. Once you've seen Yojimbo, Last Man Standing doesn't feel all that special. Hill never chooses to break free of the Kurosawa structure, so his film is predictable from the get go. Having said that, even if you know the outcome of the trip, part of the journey is worth while. As an action film, Last Man Standing delivers in spectacular fashion. The fight scenes are staged with a sense of gusto and texture; something is often denied to the majority of such scenes in other movies.
When Last Man Standing is in adrenaline mode it works, but when it comes to the talky segments, it feels painfully stiff. The acting style is flat, and everybody delivers their lines with the same sour expression, which Hill seems quite fond of considering how many facial close ups he uses.
In the end, the movie has a little something to offer. It's recommendable on some grounds, but it needs a bit more brain and less brawn.
8 of 11 people found this review helpful.
Was this review helpful to you?
| Report this