FILM REVIEW OF ''DEN OF THIEVES" (2018)

An audacious, white-knuckled, adrenaline-laced, cops and robbers’ crime thriller with a twist ending, writer & director Christian Gudegast’s “Den of Thieves” (***1/2 OUT OF ****) pits a loose cannon L.A. County Sheriff’s Department detective against a crackerjack team of gunmen shaped in the crucible of combat while serving as soldiers in the Middle East.  These nonconformist warriors came home, clashed with the law, and survived the purgatory of prison to emerge as an elite gang angling for the big score before they retreat into obscurity.  The lead in “300” and “Olympus Has Fallen,” Gerard Butler turns in a strong performance as an obsessive cop struggling with marital woes. Pablo Schreiber of “13 Hours” commands the villains.  He matches wits with Butler in a lively cat and mouse game where survival is the prize and a cold slab in a morgue is the penalty for those who stray from the straight and the narrow.  50 Cent fans may not recognize a buffed-up Curtis James Jackson III.

“Den of Thieves” reminded me of Michael Mann’s superb bank robbery movie “Heat” (1995) where Al Pacino’s rugged cop tangled with Robert De Niro’s hard-nosed bank robber in a high stakes showdown.  The difference between “Den of Thieves” and “Heat” is Butler displays little respect for his adversaries.  Meantime, the villains have a few tricks up their sleeves that nobody, especially armchair detectives, may be prepared for at fadeout.  Although he makes his debut as a director, Christian Gudegast has already established his bonafides as a genre specialist with not only the Vin Diesel thriller “A Man Apart,” but also Butler’s “London Has Fallen,” the gung-ho sequel to “Olympus Has Fallen.”  Butler is at his best as a tough-guy protagonist, and his gritty performance compares strongly with Gene Hackman’s Oscar-winning portrayal of an unorthodox, hard-as-nails, NYPD detective in the 1972 Best Picture “The French Connection.”  A wry sense of humor pervades this 140-minute, R-rated opus, but it never undercuts the gravity of the action.  Mind you, a fourth quarter glitch in credibility threatens to unravel the plausibility of plot.  Nevertheless, Gudegast and “Prison Break” creator and co-scribe Paul Scheuring have worked out meticulously the logistics of this far-fetched caper. They conclude it with an out-of-left-field finale like Bryan Singer’s “The Usual Suspects” (1995) that wowed everybody.  If you like your heist thrillers served up with lots of testosterone, tense ‘snap, crackle, pop’ firefights, and obstinate adversaries who refuse to flee, “Den of Thieves” is your ticket.

Nick Flanagan (Gerard Butler of “London Has Fallen”) runs a squad tasked with bank robberies.  His guys could be mistaken for stone-cold, Russian mafia gunsels.  They are unkempt, and their arms are engraved with tattoos.  They have no qualms about violating rules.  Everything is fair once they “click” off their safeties.  Nick’s free-for-all lifestyle doesn’t harmonize with his wife, Debbie (Dawn Olivieri of “The Wolverine”), and her dreams of middle-class domesticity with their two elementary school age daughters.  Naturally, they don’t understand why she walks out on their father.  As the film unfolds, “Den of Thieves” presents statistics that classify Los Angeles as “the bank robbery capital of the world” with a hold-up every 48 minutes.  Basically, Gudegast’s epic is a West coast version of Ben Affleck’s “The Town” (2005), where Boston boasted more bank robbers per capita than any other city.  Meanwhile, Merrimen (Pablo Schreiber) has assembled a posse of heavily-armed, former Marines, who have matriculated through prison after returning stateside.  They carry out their crimes with a military precision. Those plans hit a snag when they approach an armored car after dark outside a donut shop.  A hail of bullets erupts like Armageddon descending.  An innocent bystander lives to tell the authorities that he saw masked shooters lay down a barrage on the guards.  Later, after he arrives at the scene, Nick plunders a sprinkled donut from a box that one of the guard’s dropped during the massacre.

Gudegast doesn’t give the audience a chance to get comfortable.  Upfront without any delay, he stages a violent, night-time attack on an armored car as if he were imitating “Black Hawk Down.” The villains mow down the off-duty guards, steal their armored car, and then stash it safely out of sight. They send somebody back to photograph the various law enforcement personnel at the crime scene.  Merrimen isn’t happy one of their own lies sprawled dead in it.  Eventually, Nick suspects Merrimen may be the ringleader.  Unfortunately, the police don’t have enough evidence to arrest him.  They stake Merriman out and search for accomplices. They abduct an African-American, Donnie (O'Shea Jackson Jr. of “Straight Outta Compton”), who tends bar where Merrimen drinks. The two show up in surveillance snaps.  Nick interrogates Donnie in a motel where his deputies are having a party.  Primarily, Nick is interested in Merrimen, and Donnie confesses he serves just as a getaway driver.  Merrimen confides nothing in him.  Donnie heaves a sigh of relief when Nick turns him loose.  Meantime, Donnie doesn’t share the incident with Merrimen.  Merrimen unveils their master plan.  They have decided to liberate $30-million in clean currency from the fortress-like branch of the L.A. Federal Reserve Bank!  The gauntlet of security checkpoints and surveillance cameras that they must contend with makes “Den of Thieves” look like a Tom Cruise “Mission Impossible” cliffhanger.

Apart from a domestic strife scene when Nick fails to reason with his wife, “Den of Thieves” shifts back and forth between the sheriffs and the robbers.  Gudegast emphasizes the professionalism on both sides.  Merrimen’s gunmen shoot only those who shoot at them.  Furthermore, the bad guys orchestrate a multifaceted heist that involves them infiltrating the Federal Reserve and looting it smack under the nose of the guards.  Suddenly, brazen Nick blows his cover and approaches Donnie and Merrimen in a restaurant and lets them know about him.  This is Nick’s way of going off the reservation that spikes the suspense.  Surprises and revelations ensue. “Den of Thieves” is “Heat”/”The Town” laced with “The Usual Suspects.”

FILM REVIEW OF ''BABY DRIVER" (2017)

The trailer that first advertised British writer & director Edgar Wright’s “Baby Driver” made it look like a Young Adult knock-off of French producer Luc Beeson’s “Transporter” franchise with rugged, austere Jason Statham.  Fortunately, nothing could be farther from the truth.  Indeed, the films both deal with elusive getaway car drivers. Despite their apparent resemblance, these movies share little in common except for their automotive audacity.  Comparatively, “Baby Driver” is nothing like Wright’s earlier comic trilogy “Shaun of the Dead” (2994), “Hot Fuzz” (2007), and “The World’s End” (2013).  Two of those movies dealt with supernatural creatures, while “Hot Fuzz” constituted a police parody.  Furthermore, “Baby Driver” is nothing like Wright’s other unconventional outing “Scott Pilgrim Vs. The World” (2010).  Indeed, Wright performs a 180 with “Baby Driver” (*** OUT OF ****), a straightforward, white-knuckled, R-rated, crime thriller about blood, death, and consequences.  Meantime, unlike the usual bombastic summer release, “Baby Driver” isn’t an outlandish escapade.  Instead, it is a superbly staged, adrenalin-laced actioneer which rarely pulls its punches.  The first three-fourths of this Atlanta-lensed saga is top-notch, while the final fourth marks time with the hero’s atonement for his crimes.  Another thing that differentiates “Baby Driver” from most summer movies is it is neither a blockbuster prequel nor a sequel.  Nobody gives a bad performance.  Indeed, Wright surrounds his handsome, earnest, young leading man, Ansel Elgort of “Divergent,” with a robust cast, featuring Jamie Fox, Jon Hamm, Jon Bernthal, and Kevin Spacey.  Jamie Fox and Jon Hamm are unforgettable as a pair of unhinged hoodlums who abhor each other, while Kevin Spacey towers above both as the wily mastermind of all the film’s crimes.  Clearly, something about Edgar Wright’s tale of mayhem and murder appealed to these Hollywood veterans, and they indulge in being both evil and obnoxious.  Honorable mention goes to behind-the-scenes veteran stunt coordinator Darrin Prescott of “John Wick” fame as well as the hundred or more precision drivers, riggers, camera bike riders, and stunt doubles who helped him orchestrate several harrowing but realistic driving sequences that never turn into the bizarre tomfooleries of the “Transporter” movies.  Hey, I loved the “Transporter” movies, but “Baby Driver” strives to keep things realistic.

Baby (Ansel Elgort of “The Fault in Our Stars”) is a fearless, young hellion with a taste of tunes and reckless driving that converge once he takes the wheel of any vehicle.  He survived a traumatic childhood after his contentious mother and father slammed their car into the rear of a tractor-trailer and died.  Baby escaped grievous bodily harm.  Nevertheless, he carries a couple of token scars on above an eyebrow and across his cheek. Wright sketches in Baby’s background when he doesn’t replay the scene of the accident that killed his parents.  Meantime, he spent his teen years stealing cars and keeping the Atlanta Police in his rearview mirror.  At the same time, he became a wizard with recording music in any format and grooves to his iPod whenever he careens around town to drown out “the hum in his drum” caused by tinnitus.  Writer & director Edgar Wright provides us with a protagonist both sympathetic and charming.  Baby doesn’t brag, he just drives, and when he holds onto the wheel, he can go anywhere--if there is anywhere to go.  Literally, he can thread the eye of a needle in his stick-shift cars, and he can escape from predicaments that seem well-nigh impossible. 

Initially, we see Baby drive the getaway car after a bank robbery, and he leads the Atlanta Police on a spectacular chase.  Afterward, while the well-tailored criminal mastermind, Doc (Kevin Spacey of “The Usual Suspects”), is dividing up the loot, one of the robbers, Griff (Jon Bernthal of “The Accountant”), minimizes Baby’s role in the hold-up.  Griff warns Baby that one way or another Baby will wind up with blood on his hands.  We learn from Wright’s fast-paced, expository dialogue that Doc discovered Baby because he stole Doc’s Mercedes.  Since that incident, Doc has used Baby as his wheel-man.  Moreover, Doc keeps him on his payroll so the energetic rapscallion can pay off his debt to him.  Basically, “Baby Driver” boils down to a morality yarn about a young thief who doesn’t want to see anybody die during the commission of a crime.  Unlike the rest of the characters in “Baby Driver,” Baby is the only one with a shred of decency. 

The sobering but exasperating thing about Baby is that he doesn’t elude the long arm of the law every time and that makes him more believable and vulnerable.  Fortunately, few of Baby’s asphalt antics are so impractical that they could be considered preposterous.  After an exhilarating opening sequence where our hero delivers Doc’s accomplices without a scratch, Baby embarks on an odyssey that alters his life.  Primarily, Baby falls in love with a cute, young waitress at a 24-hour diner where he likes to drink java.  Debora (Lily James of “Cinderella”) walks into Baby’s life and she turns him every which way but loose.  Once he has repaid Doc for everything that he took from him when he stole his car, Baby plans to quit crime.  In fact, he is on the straight and narrow and delivering orders for Goodfellas Pizza when Doc crosses his path again and convinces him to come back and drive for him.

“Baby Driver” boasts some of the best, high-speed driving sequences since the crime thriller “Drive” (2011) with Ryan Gosling.  The thieves conspiring with Doc are a cynical, ruthless bunch who would prefer to exit in a blaze of gunfire than submit meekly to the rehabilitative options of the criminal justice system.  Wright ramps up all this anarchy with a dynamic but diverse variety of tunes that Baby listens to according to the occasion.  The hit songs in “Baby Driver” are reminiscent of those in the two “Guardians of the Galaxy” sci-fi space operas.  Consequently, Ansel Elgort should be on the road to superstardom, because nothing about “Baby Driver” is infantile.

FILM REVIEW OF ''ABOVE THE LAW" (1988)

Steven Seagal looks emaciated in director Andrew Davis’ hard boiled crime thriller “Above the Law,” (*** out of ****) co-starring skull-faced Hollywood heavy Henry Silva as a knife-wielding psycho.  Reportedly, Seagal broke into the film business because one of his students, the highly respected Hollywood agent Michael Ovitz, made it happen. “Above the Law” qualifies as a formulaic law and order epic about narcotics smuggling and an assassination attempt on an incorruptible U.S. Senator.  Most of the action takes place in Chicago with Seagal defeating the loathesome villains with his usual brand of aggressive tenacity.  Seagal uses Aikiko on them when he isn’t swapping lead. The title refers to nobody being immune from justice.  Ironically, Davis emphasizes this point with newsreel footage of U.S. President Richard Nixon quoting Abraham Lincoln on the subject. Remember Nixon was the Republican who resigned in disgrace over the Watergate Scandal.  The Andrew Davis & Steven Seagal screenplay features more autobiographical material about the martial arts star than any of his other epics.  Indeed, “Above the Law” provides a glimpse of Seagal as a youngster with several genuine pictures of the actor.  Composer David Michael Frank betrays the late 1980s origins of “Above the Love” with his cheesy B-movie score.  Nothing surprising occurs as our stalwart hero tackles the villains with a vengeance.  The villains are merciless dastards, but Nico cuts them little slack.  As it turns out, the CIA has ties with organized crime. 

Making his motion picture debut, Seagal casts himself as an Italian-American born in Palermo, Italy, who immigrated to America at age seven.  He saw a martial arts demonstration at a baseball game later on when he was a teenager. Company agent Nelson Fox (Chelcie Ross of “Major League”) initially recruited Nicolo ‘Nico’ Toscani into the CIA. Before the Agency approached him at an Embassy function in Tokyo, Nico had studied and taught martial arts in Japan.  Our naïve protagonist totes an M-16 along the border of Vietnam and Cambodia on assist and observe missions. He witnesses some things that he should haven’t seen.  “Above the Law” gets off to a good start as Nico encounters Colonel Kurt Zagon (Henry Silva of “The Hills Run Red”) as the latter is interrogating a native in the jungle.  Somebody, it seems, has been tampering with Zagon’s opium.  Our hero doesn't understand what any of this has to do with acquiring intelligence about the enemy. Nico and Zagon clash, setting up expectations for a gory finale about an hour later.  

The action shifts years later to contemporary Chicago.  Toscani has a wife Sara (Sharon Stone of “Basic Instinct”), and they have just attended the communion of their first child  Giuliano.  Nico’s pals on the force laugh about him for having more relatives under federal indictment than any other cop in Chicago.  When he isn’t patrolling the streets, Detective Sergeant Tosconi takes care of personal business relating to the disappearance of his attractive young niece.  Seagal’s first cinematic fight takes place in a bar as he is searching for her.  Even the bartender knows what to expect when Nico enters.  “This ain’t nothing but trouble coming in my place tonight,” he observes with dread.  Nico gets a tip from the low-life, Alex (Christopher Peditto), who was getting his niece hopped up on drugs.  Alex doesn't want to go to jail so he babbles about a hooker and a cocaine lawyer setting up a deal.  Nico slaps him around enough until he provides a name.  Nico is the kind of cop who isn’t above breaking the rules.  He eavesdrops via a wiretap on a conversation between a couple of Columbians. He gets wind of a shipment arriving in an engine block at the Fulton Meat Market. Later, at the market, the Feds blow the case for them and Nico chases the villains in their car on foot.  He throws himself in front of their Lincoln and tumbles across the hood and atop the roof.  After they blow some holes in the roof, Nico smashes a passenger window and clamps a hand onto Tony Salvano, one of the lawyers.  This is a reasonably suspenseful scene.  Nico is shown spread-eagle clinging to the roof of the Lincoln while the driver swerves in an effort to dislodge him.  Eventually, the driver obeys his boss and pulls over. Afterward, Nico and his buddy Detective Lukich (Ron Dean of "Code of Silence") take apart the engine block.  Instead of narcotics, they discover several packages of C-4 explosives.  The Feds arrest Tony Salvano, but they let him off the hook because he is a government snitch.

  

After FBI agent Neeley releases Salvano and his driver, they check out St. Mary’s Church where Nico has attended.  While they are in the church, , Father Gennaro (Joe V. Greco) introduces Nico and Jackson to Father Tomasino and his refugees who are hiding in the basement of the church.  The next time Nico shows up for church, a bomb goes off.  The Father delivers a message about knowing the truth.  “Our leaders tell us and talk to us about them and us.  But almighty God talks to us about all mankind as one.  Now, we have an obligation to find out what is the truth.  We need to study.  We need to question.  We need to read and we need to find out what they are doing in our name.  And we must support those brave souls who seek the truth.”  Not long after the sermon, a woman departs the sanctuary.  Nico spots a suspicious sack moments before it explodes and kills Father Gennaro.  Later, Nico discovers that the blast was meant for Father Tomasino.  The blast kills Father Gennaro.  After the explosion, a carload of thugs tries to assault Nico and he shows them his stuff.

Afterward, the Feds come down hard on Nico and persuade the Chicago Police Department to suspend him.  He surrenders his gun and badge.  This doesn’t prevent Nico from carrying out his own investigation.  Nico meets Fox on a skyscraper.  We learn that Zagon has a four thousand acre ranch in Costa Rica.  Zagon wanted Senator Ernst Harrison assassinated because he was going to expose their plans to invade Nicaragua using cocaine money.  As it turns out, Father Tomasino learned about it while in Nicaragua and Zagon fears that he may have told the senator.  Zagon doesn’t want to kill the senator is word has been leaked about it.  Nelson holds Nico at gunpoint about the same time that Zagon and his cronies arrive in an underground garage.  A gunfight erupts and the bartender kills Nelson who slides Nico his gun.  More shots are fired and Salvano is hit.  Nico backs a car into Salvano and runs the car half out of the high rise parking lot so Salvano plunges onto the elevated railway and is electrocuted to death.  Zagon and his thugs pursue Nico in another car.  They run Nico down, pick up him, and prepare to torture him. Nico surprises them, breaks through his restraints, and devastating them.  He kills two with a shotgun and breaks Zagon’s arm when he threatens him with a knife.  Afterward. He snaps Zagon’s neck.  Later, Senator Harrison drops by Nico’s house and thanks him.  Apparently, Nico appears before Congress as “Above the Law” concludes with his testimony.  “Gentlemen, whenever you have a group of individuals who are beyond any investigation who can manipulate the press, judges, members of our Congress, you’re always gonna have within our government those who are above the law.”

FILM REVIEW OF "COCAINE FIENDS" (1935)

Compared to “Reefer Madness,” “Cocaine Fiends” (** out of ****) treats its subject matter with more gravity. Mind you, this constitutes a left-handed compliment for “Primrose Path” director William A. O’Connor. Interestingly, the original theatrical title was “The Pace That Kills.” Moreover, this sound-era version is a remake of the 1928 silent original that O’Connor co-helmed with Norton S. Parker. Considering its subject matter, this black & white film never depicts the addicts using narcotics. Once scene occurs in an Asian opium den, and the addict urges an Asian woman to accelerate the process. Prostitution is suggested rather than shown as is the abuse of cocaine. Despite its occasional lapses in coherence, “Cocaine Fiends” is considerably more realistic about its subject matter, and the punishment that the junkies and the dope peddlers receive is not prescribed by judges or courtroom prosecutors.

“Cocaine Fiends” opens with a pretentious prologue. Not only does this prologue serve to establish the tragedy that lurks in this sad crime saga, but it also doubles as a call to action for people to thwart this illicit pastime. “Among the many evils against which our society struggles, one of the most vicious is the traffic in dope. In every community where the menace develops all the force which society can mobilize, including social agencies, doctors, law enforcement officials and government band together to stamp it out. Without such activity, the dope evil would run rampant. Yet it has long been recognized that one other powerful forces is necessary before the struggle can be completely successful. That force is an aroused and educated public awareness. It is the hope of aiding in developing such awareness that this picture has been produced. What happens to Jane Bradford may happen to anyone. There will always be “Jane Bradfords” until you Mr. Citizen, cooperate with the forces now fighting the dope evil to forever stamp it out of our land. The Management.”

In the first scene, Nick the Pusher (Noel Madison of "Missing Girls") and his partner are planning to expand their operation into new territory. Not only does Nick deliver the dope, but he also makes the collections. The local authorities are pursuing them at the outset. Nick gives them the slip and takes refuge at a roadside diner. He poses as “a collector for an oil company.” He assures the restaurant attendant, Jane Bradford (Lois January of “Border Caballero”), that racketeers have been chasing him. Meanwhile, the authorities pull over Nick’s associate and search his car without finding any contraband. Afterward, the cops drive over to the diner. Jane hides Nick in the back while the cops drink beer and discuss the case. Initially, Jane suspects these racketeers may not be criminals, but Nick convinces her otherwise.

Nick suggests Jane come to the city where she can earn more money. Jane explains that her mother and she are paying to put her brother through school. When Jane complains about all the excitement, Nick offers her “the grandest headache medicine in the world” which relieves all of Jane’s pain. Eventually, Jane follows Nick to the city but consents to board with his so-called friends until they wed. Little does poor Jane know that she is being kept in custody. Later, Jane learns from the woman that runs the house where Nick left her that she has been snorting “cocaine.” This revelation occurs less than 10 minutes into the action. Thereafter, Jane changes her name to Lil’ and begins a new chapter in her life.

Jane’s handsome brother Eddie (Dean Benton of “Life Returns”) goes to the city about fourteen months after his sister disappears. When he isn’t searching for Jane, Eddie works as a car hop at the Twin Barrels, a drive-in restaurant, where he meets Fanny. One of his favorite customers is Dorothy Farley (Lois Lindsay of “Gold Diggers in Paris”) who loves to ogle him. Meanwhile, Fanny (Sheila Bromley of “Desert Phantom”) buys some cocaine from Nick and introduces Eddie to it when he complains about fatigue. Later, the boss fires Eddie and Fanny because of their immoral behavior. Eddie suffers from cocaine withdrawal, and Fanny provides him with money for the drug. Initially, Eddie has no idea that he is a hop-head, until their land-lady makes the observation that he looks like "a hop-head." Dorothy shows interest in Nick, but her boyfriend Dan (Charles Delaney of "The Brass Legend"), warns her that Nick belongs to the mob. The biggest surprise in "Cocaine Fiends" is that Dorothy's boyfriend is an undercover cop. Eventually, Nick takes Dorothy hostage. Dorothy offers Jane a $1000 to help her escape. After she watches Eddie die from the narcotic abuse, Jane guns down the treacherous Nick.

“Cocaine Fiends” isn’t as hilarious as “Reefer Madness.” In the most atmospheric scene, O’Connor stages a suicide. Unfortunately, this is a depressing little drugsploitation film. The chief reason for its notoriety today is the use of cocaine as its subject matter. The interesting thing here is that the law never intervenes. Characters administer justice without the intervention of the courts. The evil gangsters die at the hands of the very people that they turned into junkies.

FILM REVIEW OF ''THE WILD ONE" (1953)

“Death of a Salesman” director László Benedek’s crime melodrama “The Wild One” (**1/2 out of ****) qualifies as the first outlaw motorcycle movie. Columbia Pictures released this seminal Hollywood epic, and Benedek and two-time Oscar winning cinematographer Hal Mohr lensed it primarily on the studio’s backlot, using a setting that was featured in many of its Randolph Scott westerns. Brooklyn-born producer Stanley Kramer, who sought to raise social consciousness throughout his career by tackling controversial subject matter, is remembered for several acclaimed films, such as “The Defiant Ones” (1958), “On the Beach” (1959), “Inherit the Wind” (1960), “Judgment at Nuremberg” (1961), “Ship of Fools’ (1965) and “Guess Who's Coming to Dinner” (1967). “Murder, My Sweet” scenarist John Paxton based his screenplay on a true-life, Fourth of July weekend incident in Hollister, California, in 1947. Ostensibly, “Harper’s Magazine” published author Frank Rooney’s short story about the event, “The Cyclists' Raid,” in its January 1951 issue. Like most true-life stories, Kramer, Benedek, and Paxton dramatically enlivened events because little of what they depicted occurred during the actual event. This tale of rebellion was so intense when it first came out that the British Board of Film Censors banned it from being shown in England until the late 1960s! Indeed, the filmmakers open the film with a forward that states: “This is a shocking story. It could never take place in most American towns - but it did in this one. It is a public challenge not to let it happen again.”

Marlon Brando plays Johnny Strabler and sports sideburns. He wears a black leather bomber jacket with epaulets and his name stenciled across the left side. All of Johnny’s riders have the symbol of a skull with two pistons criss-crossed beneath it on the backs of their leather jackets. Johnny leads the Black Rebel Motorcycle Club. After they disrupt a motorcycle rally race in the nearby town, Johnny and his gang roll into the sleepy little town of Wrightsville where most of the action transpires. While they are in town, the BRMC riders guzzle lots of beer at Bleeker’s Café, cause a wreck on main street, and brawl in the street. An elderly man, Art Kleiner (Will Wright of “All the King's Men”), tools into town in his Ford when a group of cyclists plan to drag for beers. As they roar into the street, Kleiner swerves to avoid them and smashes his front fender on a telephone pole. One of Johnny’s riders, Crazy (Gene Peterson of “Hiawatha”) slams into Art’s Ford and injures his ankle. Initially, the locals embrace them, but the BRMC wear out their welcome quickly when they enrage a high-profile citizen, Charlie Thomas (Hugh Sanders of “The Pride of St. Louis”), when they tip his car over. Somebody mentions that Charlie has always been a bully since the third grade and he uses his standing in the town to respond to the threat that he feels the bikers pose. By the time that this has happened, a rival motorcycle gang, the Beetles, lead by Chino (Lee Marvin of “The Big Heat”) cruise into town. Chino steals a second place trophy that one of Johnny’s riders stole for him from the race. They are beating each other up when Charlie decides to move his car through the crowded streets. The local lawman, Sheriff Harry Bleeker (Robert Keith of “Duel of Champions”) does his best to look the other way, but he is forced by the townspeople to throw Chino in jail. Johnny complains about Charlie Thomas, but Charlie is such a big-wig that Harry refuses to jail him.

Marlon Brando plays Johnny Strabler and sports sideburns. He wears a black leather bomber jacket with epaulets and his name stenciled across the left side. All of Johnny’s riders have the symbol of a skull with two pistons criss-crossed beneath it on the backs of their leather jackets. Johnny leads the Black Rebel Motorcycle Club. After they disrupt a motorcycle rally race in the nearby town, Johnny and his gang roll into the sleepy little town of Wrightsville where most of the action transpires. While they are in town, the BRMC riders guzzle lots of beer at Bleeker’s Café, cause a wreck on main street, and brawl in the street. An elderly man, Art Kleiner (Will Wright of “All the King's Men”), tools into town in his Ford when a group of cyclists plan to drag for beers. As they roar into the street, Kleiner swerves to avoid them and smashes his front fender on a telephone pole. One of Johnny’s riders, Crazy (Gene Peterson of “Hiawatha”) slams into Art’s Ford and injures his ankle. Initially, the locals embrace them, but the BRMC wear out their welcome quickly when they enrage a high-profile citizen, Charlie Thomas (Hugh Sanders of “The Pride of St. Louis”), when they tip his car over. Somebody mentions that Charlie has always been a bully since the third grade and he uses his standing in the town to respond to the threat that he feels the bikers pose. By the time that this has happened, a rival motorcycle gang, the Beetles, lead by Chino (Lee Marvin of “The Big Heat”) cruise into town. Chino steals a second place trophy that one of Johnny’s riders stole for him from the race. They are beating each other up when Charlie decides to move his car through the crowded streets. The local lawman, Sheriff Harry Bleeker (Robert Keith of “Duel of Champions”) does his best to look the other way, but he is forced by the townspeople to throw Chino in jail. Johnny complains about Charlie Thomas, but Charlie is such a big-wig that Harry refuses to jail him.

Later, Charlie mobilizes a vigilante committee, and they track down Johnny and beat him up. Things turn ugly when the motorcycle gangsters run Dorothy, the telephone operator, out of her office and nobody can get through to the state police. By this time, Frank Bleeker (Ray Teal of "Ace in the Hole") regrets having had anything to do with Johnny and his ruffians. Frank owns the local café and his niece Kathie Bleeker (Mary Murphy of "Live Fast, Die Young") has attracted Johnny's attention. During a scene in the café, a hair stylist dancing with one of Johnny's riders asks him what he is rebelling against with his outlaw gang. Johnny has no clue, "What do you got?" At one point, a gang of motorcyclists corner Kathie in a back ally, but Johnny roars in to her rescue and they later have brief romantic entanglement where they kiss. After Johnny has dropped her off, the vigilantes attack him. Eventually, Johnny escapes, but he is pursued by dozens of townspeople. Johnny races onto main street and somebody slings a tire iron at him. The tire iron strikes Johnny and knocks him off his cycle. The unmanned cyclist careens into a crowd of spectators and an old man, Jimmy (William Vedder of "The Senator Was Indiscreet"), dies when the bike hits him. Johnny barely misses going to jail when Sheriff Stew Singer (Jay C. Flippen of "Jet Pilot") arrives with two carloads of deputies. Based on some last minute testimony, Singer releases Johnny, but warns him, "I don't know if there's any good in you. I don't know if there's anything in you. But, I'm gonna take a big fat chance... and let you go." Johnny and the two motorcycle gangs leave town. Later, Johnny slips back into town alone and gives Kathie the stolen trophy. They smile and "The Wild One" concludes.

“The Wild One” went on to inspire a number of outlaw motorcycle gang movies, including “The Wild Angels” (1966), with Peter Fonda, Bruce Dern, and Nancy Sinatra; “Hells Angels on Wheels” (1967) and “Rebel Rousers” with Jack Nicholson; “The Born Losers,” and the most prestigious biker movie “Easy Rider” (1969), with Peter Fonda, Dennis Hopper, and Jack Nicholson. Eventually, all-female biker gang movie appeared, including “The Hellcats,” (1967), “She-Devils on Wheels” (1968), “The Miniskirt Mob” (1968), “Sisters in Leather” (1969), “Angels' Wild Women” (1972), and “Cycle Vixens” (1978). Mind you, although it was pretty disturbing for 1950s' audiences, "The Wild One" is so tame now that it will be difficult for 21st century viewers to wonder how such an insignificant film could have sparked the genre.

FILM REVIEW OF "TAKERS" (2010)

“Lockdown” director John Luessenhop’s super-charged, criminal heist thriller “Takers” (*** out of ****) derives its premise and some of its best scenes from other top-flight Hollywood cops and robbers movies. First, “Takers” is set in Los Angeles where Michael Mann made his 1995 classic heist thriller “Heat” with Al Pacino, Robert De Niro, and Val Kilmer. In “Takers,” a quintet of GQ criminals steals what they want when they want it with the least amount of damage. Thoroughly professional to the hilt, these guys live by a code. Second, although clearly inspired by the slickly done Michael Mann epic, Luessenhop helms this stylist thriller as if he spent his every waking hour watching William Friedkin’s landmark “To Live and Die in L.A.” Clocking in at 107 minutes, “Takers” never sacrifices its momentum for anything. Luessenhop’s editor, Armen Minasian of “RoboCop 2” and “Kiss the Girls,” literally slashes the action together. Something is constantly happening. Walk out on this nail-biter and you’ll miss a lot of action even if you’re gone for less than 60 seconds. Luessenhop pares everything down to the bare essentials. Indeed, Zoe Saldana's role looks like it was whittled down to a couple of scenes with little for her to do. Unfortunately, characterization beyond wardrobe changes suffers. Nevertheless, the action burns up the screen, particularly a nimble foot chase that imitates a similar chase from the first Daniel Craig Bond movie “Casino Royale.” Third, Luessenhop stages a noisy but realistic gunfight in the confines of a motel suite that looks like a tribute to Ridley Scott’s L.A.-based crime caper “True Romance.” Mind you, “Takers” ups the ante; the bullets punch big holes in the walls in this shoot-out, and nobody knows who is blasting away at whom on the other side. Finally, a three-way, Sergio Leone/Quentin Tarantino style showdown caps the action at an airport where the cops and robbers face off. Laden with surprises, “Takers” emerges as a gripping heist thriller with enough cool-looking combat to compensate for the dearth of characterization.

Jamaican-born Gordon Jennings (Idris Elba of “Obsessed”) heads up an elite gang of twentysomething criminals that consists of former car thief John Rahway (Paul Walker of “Running Scared”), tattoo-clad, jack-of-all-trades construction engineer A.J. (Hayden Christensen of "Star Wars: Episode III - Revenge of the Sith”), and brothers Jake (Michael Ealy of “Seven Pounds”) and Jesse Attica (Chris Brown of “Stomp the Yard”) who handle C-4 explosives like wizards. During the first scene, Luessenhop establishes the cool expertise of Jennings and company under tension when they execute a flawlessly timed robbery at the Federal California Bank in broad daylight in downtown Los Angeles. They assemble at the high-rise bank in separate disguises and then suit up in masks and body armor with assault weapons. A female bank employee trips a bank alarm during the hold-up. Calmly, Rahway escorts her courteously to a nearby phone where he orders her to call a local TV station and report a robbery in progress. Naturally, an eager TV news crew responds and lands their news helicopter atop the skyscraper helipad where the bank is located. The news reporter believes she has a scoop when the security guard gives them clearance to land. As it turns out, A.J. is masquerading as the security guard. He pulls his pistol and forces her, her news camera man, and the pilot down on their bellies. While the Los Angeles Police Department assembles in the parking lot, the other four members of his team pile into the chopper. A.J. flies the chopper off to a landing site not far away. After blowing up the helicopter to destroy any clues, the quintet separate without anyone knowing anything about them. These guys live the high life and toast each other at Jake’s bar.

Meanwhile, trouble is brewing because one of their former colleagues, Daryl Rivers (rapper-producer Tip "T.I." Harris), who was wounded during a robbery four years ago, is released on good behavior. The gang has since cut off contact with Daryl, a.k.a. ‘Ghost,’ and they are surprised when he shows up at Jake’s bar. As it turns out, Ghost’s girlfriend Rachel Jansen (Zoe Saldana of “The Losers”) has taken up with Jake, so bad blood exists between Jake and Ghost. Gordon and the others fear that after they give Ghost his cut from his last job that he may inform on them to the authorities. Instead, Ghost brings them the blueprints for a daring armored car robbery that could yield a $20-$30 million payday. Initially, the gang is suspicious. They don’t know if they can trust Ghost, but he brings them a sweet deal. The chief drawback is they must stage the heist in less than a week. A.J. performs the leg work and convinces Gordon that the job is something that they can do. Little do they know that Ghost has gotten the idea from an outfit of ruthless L.A. based Russians. The Russians think they are in cahoots with Ghost, but Ghosts plans to use them as a means of exacting sweet revenge on the protagonists. The armored car robbery in “Takers” is truly a piece of work and nothing like it has been done.

Director John Luessenhop and a trio of scenarists, Peter Allen, Gabriel Casseus, and Avery Duff, have turned an inventory of cop and robbers clichés into a lively little thriller. Although the slippery Ghost is the gang’s most obvious adversary, they have to elude and distract hot-tempered, rogue L.A.P.D. Detective Jack Welles (Matt Dillon of “Armored”) who is determined to capture them. Welles and his partner Eddie Hatcher (Jay Hernandez of “Hostel”) are tenacious in their efforts to track down Gordon and company. Like “Heat,” the heroes in “Takers” have personal problems. Gordon has a crack head sister, Naomi (Marianne Jean-Baptiste of “Spy Game”), who creates problems for him when he least needs them. Luessenhop ramps up the suspense and tension throughout “Takers” so that neither the cops nor the robbers have an easy time of it. Complications galore arise to derail everybody’s best laid plans. “Takers” ranks as one of the best L.A.-based heist melodramas since “Heat.”