An undercover Detroit cop navigates a dangerous neighborhood that's surrounded by a containment wall with the help of an ex-con in order to bring down a crime lord and his plot to devastate the entire city.
When a Las Vegas performer-turned-snitch named Buddy Israel decides to turn state's evidence and testify against the mob, it seems that a whole lot of people would like to make sure he's no longer breathing.
A case of mistaken identity lands Slevin into the middle of a war being plotted by two of the city's most rival crime bosses: The Rabbi and The Boss. Slevin is under constant surveillance by relentless Detective Brikowski as well as the infamous assassin Goodkat and finds himself having to hatch his own ingenious plot to get them before they get him.
After a drug-op gone bad, Joey Gazelle is put in charge of disposing the gun that shot a dirty cop. But things go wrong for Joey after a neighbor kid stole the gun and used it to shoot his abusive father. Now Joey has to find that kid and the gun before the police and the mob do. Written by
Kevin Yang (Canada, Surrey)
When Dez talks to the girl in the "play room" scene, a close-up of her is shown on the TV screen. Then the camera operator starts moving backwards and the camera that feeds the TV screen zooms out too quickly so that the film camera (presumably a Steadicam system) has not yet left the viewing angle of the TV camera and can clearly be seen on the left side of the TV for a moment. See more »
[while frantically driving]
Come on! Come on, kid! The fuck? Look at me. Fuck! Come on Oleg, stay with me. Come on. Come on! Come on, kid. We're gonna make it.
We're gonna crash!
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I Should Know
Written by Ben Harris, Paul Harris & Steve Smith
Performed by Dirty Vegas
Courtesy of Capitol Records
Under license from EMI Film & Television Music
Used by permission of EMI Blackwood Music Inc. See more »
Those who dismiss this classic film, and it really is destined to be a cult classic are perhaps properly outraged by the characters that Wayne Kramer populates this film with. Drug addicts, hookers, mobsters, wife beaters, pedophiles, crooked cops and pimps cross the path of Oleg and Joey as they run through the city looking to stay alive. Tarantino comparisons will abound as with any clever and violent film these days, but Wayne Kramer imprints Running Scared with his own wonderful style. I watched Richard Roeper give this a thumbs down by saying that Kramer throws in everything but the kitchen sink, I wholeheartedly agree but consider that a compliment. The climactic finale that takes place in a hockey rink starts off reminding me of one of my favorite scenes from another cult classic Philip Kaufman's "The Wanderers" which was derived from "The Hustler", but it only starts off there, and then it becomes perhaps the best all out violent mess that has ever been filmed.
I can't say enough about this film. I even thought Paul Walker was terrific. He shows promise that he has never shown before by eschewing the pretty boy shtick.
I just watched the film a second time upon it's DVD release which is something I seldom do, and I realized that Kramer views the film as a fairy tale. The evil characters are so over the top. They are the creatures of the night that populate our nightmares as opposed to the evil actually populating the streets. The film is about legends and myth. If the bad guys are the ones portrayed in the film, the good guys are John Wayne. If this sounds a little strange just watch the ending credits carefully.
People will discover this film. It is pure testosterone. But it sure kicks ass. I liked Wayne Kramer's the Cooler a lot as a simple character piece. I also enjoyed Mindhunters more than most, but now I anxiously await his next film. I think Wayne Kramer is going to create a great body of work over the next few years.
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