Reviews (17)

600 gangs - 70,000 members
1988's Colors was the film that opened the Hollywood floodgate that unleashed dozens of films that attempted to capture the "reality" of life on the bottom of the food chain. The plot is simple: Sean Penn and Robert Duvall are two LA Police Department officers who try to stem the flow of violence and drugs on their beat. Duvall is an older and wiser cop on the verge of retirement who realizes how futile his job is. Penn is Danny "Pacman" McGavin, a young cop who believes that to destroy the gangs, you have to fight fire with fire. The rest of the film is director Dennis Hopper's attempt at calling attention to the urban warfare of Los Angeles. Hopper gained the trust of the local gangs and worked with them effectively; the Watts location perhaps being the most effective "character" in the film. Sean Penn is great; his aggression and dedication can't help but earn respect. Surprisingly, Hopper doesn't give Penn a believable racist edge. Instead, he throws in an utterly contrived "romance" with hispanic Maria Conchita Alonso. I felt this was a total cop-out (no pun intended).

Haskell Wexler's cinematography is excellent, though Herbie Hancock's music certainly makes it clear this film was made in the 80's. Dennis Hopper doesn't shy away from graphic violence, but he doesn't lose his grip on reality. Colors was very controversial back in the day, as people protested what they saw as the films glamorous depiction of gangs. In some ways, their warnings have proven prophetic: since Colors, the gangbang lifestyle has gone on to popularization in several movies straight through MTV. And now, even Whites have soaked up the dysfunctional world of the ghetto. Yes, the anti-gang message is there, but children do not respond to messages, they respond to images: Slick crimes and the power of brotherhood. In the end, Colors committs utter resignation to gang violence. The film makes it clear that in our current social environment, all society can do to limit the "gangsta" influence is to isolate it and let it kill itself off.

Stylish But It Could Use More Substance
Hailed by critics as one of the more important films of the 80s, "Colors" nonetheless is a fairly straightforward tragedy--there's no other direction for the story to take. Robert Duvall plays a veteran police officer working L.A.'s mean streets; hothead Sean Penn joins his CRASH anti-gang unit, predictably testing the elder partner's patience and reserve as he just tries to keep the peace and make it through that final year to retirement. Both actors bring more depth to their cliched roles than might be expected, playing off each other surprisingly well, even in moments where they are given little more to do than react. But "Colors" offers no real answers to anything. The cops are presented mostly as well-armed zookeepers, while the gang members, blessed with youth and health but not much brains, run violently about, making the story mostly a series of aimless confrontations. Art imitating life? Maybe. But careful audiences might feel they've been bamboozled, despite director Dennis Hopper's rather lofty take on it. With some scenes that are genuinely tragic and gripping--the shooting of an unarmed suspect and the movie's final scene, to name two--and a romantic subplot that deserved more time--Maria Conchita Alonso seems to just get warmed up as a bad girl flirting with the notion of being good--"Colors" seems to have more going for it than it really does. Watch it mainly for the performances and the suggestion of complexity.

A good film exploring gangs
I liked COLORS alot because it's a gritty, but realistic police drama. I grew up in bad urban streets, so I know how bad things can get. I also like the film because it explored the dangerous lives the Crypts and Bloods, who wear blue and red, naturally. There is still a bloody gang war between them, but COLORS wisely tells us they're bad background and potray them as human beings like us, and not vicious animals arrested by the police we see on TV.

Anyway, Dennis Hopper awkardly, but fantastically directed this film with Robert Duvall as a veteran cop and his young, headstrong apprentice Sean Penn, as they lead a Los Angeles gang unit against the petty crime in the streets fueled by the two rival gangs. But the boiled relationship with Duvall's calm manner and Penn's hair-trigger temper won't get them very far to survive in Watt's mean streets. That problem leads to a sad climax.

COLORS is a bit dated now when compared to more brutal, but nearly worthless gang movies nowadays. But it helped paved the way more better ones like BOYZ N THE HOOD and MENACE II SOCIETY. The film is different from both of those movies because it gives us a picturesque view of both the urban gang life and the police life.

Sup' Blood
Colors, a realistic account of the irreversible damage done to the city of Los Angeles by gang violence. Robert Duvall is partnered with trigger-happy PAC MAN(Sean Penn) and together the two deliver an action-packed adventure you'll never forget!

GOOD ACTIONER ABOUT INNER CITY GANGS
A VETERAN POLICE OFFICER [ROBERT DUVALL] IS FORCED TO WORK WITH A YOUNG KNOW IT ALL COP [SEAN PENN] IN L.A.'S CRASH UNIT. HOWEVER, THEY ARE CAUGHT UP IN A DEADLY GANG WAR. AS TIME PASSES, THEY BEGIN TO RELIZE THAT THE ONLY WAY THEY WILL STAY ALIVE IS IF THEY COME TOGETHER. VERY GOOD MOVIE THAT DEPICTS WHAT IS HAPPENING TOO MUCH AMONG GHETTO AFRICAN AMERICAN YOUTH. VERY GOOD PERFORMANCES BY THE LEADING STARS. ONLY THING THIS MOVIE COULD'VE WENT WITHOUT IS THE ROMANTIC SUBPLOT BETWEEN SEAN PENN AND MARIA CONCHITA ALONSO. BUT OTHER THAN THAT, A FANTASTIC ACTION MOVIE ABOUT STREET GANGS. ... Read more

Reviews (11)

An American Classic
This film makes GONE IN 60 SECONDS seem like a movie for 8 year olds. Although sold as a "car chase movie" there is a lot more to this film than that especially its tight plot, taut direction, mis en scene, and fun. It's a thriller whose cross and double cross shenanigans are a pure delight and recall the best of the likes of Howard Hawks in the film noir forties. It rivals Jean-Pierre Melville and if Walter Hill's name was Jean-Pierre Hill from Paris it would be thought of as a classic. Hill's crime is that he's American. Culturally snobbery at work again I believe. Forget the cars for a minute, dear viewer, and let's consider the four main actors and what they do. Ryan O'Neal plays incommunicative, lonely, cold, precise, and good to look at perfectly. Isabelle Adjani plays incommunicative, lonely, cold, precise and good to look at perfectly. Which leaves the screen to one of cinema's greatest actors - Bruce Dern - to really go for it. And go for it he does. He is at his brilliant, scene-stealing, word chewing best, and is frankly rivetting and incredible fun to watch. With O'Neal and Adjani walking through po-faced throughout, Dern has a field day and is very ably helped by his cop buddy Ronee Blakly. To top the movie off, there are some of the best car chase sequences on film, as good as BULLITT. This in my view is WALTER HILL's masterpiece (he also wrote the screenplay for SAM PECKINPAH's GETAWAY in 1972). It is absolutely horrifying to me to see that Video Hound's Golden Movie Retriever 2000 give this film one and half bones which makes me nervous about many of their other reviews. I've seen this film about 15 times. It holds up. Don't deny it to yourself if you love cinema.

Gives new meaning to the term "slam bang"
Walter Hill is the doyen of American action films, hands down. 1978's The Driver is one of his best; the focus here is on momentum, pure and simple. There are great car chases and the slam-bang stuff is there in buckets--especially a great scene inside a parking garage in which the title character played by Ryan O'Neal demolishes a vermilion Mercedes Benz by screeching around corners all over the place, showing just how good a driver he is to skeptical crooks who need him as their getaway man.

A laconic flick to be sure, The Driver gives nobody names. Bruce Dern is the snartass cop who's after the driver and even recruits bank robbers to nab him. Natch, that doesn't work. You could even say this is the quintessential Hill flick (although I am very partial to Trespass), since dialogue is overshadowed by car chases and all the other stuff manipulative people (cops and criminals both) do to make their place in the world. What dialogue there is wastes no words, just like the plot wastes no time on what could be a possible romance (O'Neal and French lovely Isabelle Adjani), instead having the two of them partner up for a lot of dough--knowing glances, yeah, but no gooey stuff.

Ronee Blakley is also here in a smaller role as another great looking go-between for the driver, but she's not on screen a lot, and there's never even the faintest hint of any hanky-panky between them.

This is not only one of the best Hill flicks, but without question one of the best American action films ever made. The recent drivel, I mean, Driven, with Stallone deserves to crash and burn, while The Driver--tight as a drum and slick as greased lightning--is a red hot roadster of a film.

See it when you need a serious revving up.

Drive, he said
It's too bad director Walter Hill will likely be remembered more for providing Eddie Murphy with his first big screen showcase (in "48 Hours") than for his overall contribution to the American action film genre. Hill's tough-as-nails 1978 noir "The Driver" is arguably both his least-known and best work. Ryan O'Neal is quite effective as a dour, sociopathic "wheelman" who hires himself out as a getaway driver for assorted criminal enterprises. Bruce Dern is at his sleazy best as the cynical but driven cop on his trail. O'Neal and Dern play this classic cat-and-mouse noir scneario to the hilt (similar to Pacino and DeNiro's relationsip in 1995's "Heat"). Isabelle Adjani's icy beauty well suits her role as O'Neal's fatalistic girlfriend. It's ironic that Ryan O'Neal's best films seem to be the ones where he doesn't have to recite much dialogue ("Barry Lyndon"). Supposedly the word count for O'Neal's lines in "The Driver" totals a scant 350 (!) according to a "factoid" that prefaced a recent cable airing. Well worth seeking out.

Post-Noir Pseudo-Existentialism With Great Car Chases
It gets three stars for (mostly) the car chases and the quality of menace that O'Neal manages to put into the two unaccented words "Go Home".

You know you're in for someone's ego-trip attempt at The Great American Existentialist Film when the characters have no names, just labels -- "The Driver", "The Player", "The Cop", etc.

It becomes more obvious when every other bit of dialog is a dry, "clever" bit of cynicism.

And it's right there in your face when the major plot revelation in the film is that people don't always do what they "always do".

It's far from awful -- Hill is a decent if overrated writer/director. I mean, he's working the same vein as Leone, Peckinpah and Siegel, just not in as rich a part of the ore.

Well worth seeing for the transitory fun of the story and the incredible driving sequences -- comparable to the original "Gone in 60 Seconds" or "Vanishing Point" and superior to, say "Bullitt". But most people i've known who have kept the tape, kept it they can watch that Mercedes in the garage, the chase inside the warehouse or the other driving sequences, not to revel in the story.

Somber and Engrossing, Classic Noir with a 70s Groove!
This is a true piece of american noir. It seems like a diverting little car chase movie the first time you see it, but O'Neil's stoic, nihilistic getaway driver has a way of bringing you back for more viewings. It's interesting that Ian Muldoon mentions the similarity to a Jean-Pierre Melville film in his review, because I think this movie owes a lot to Melville's LE SAMOURAI (on which John Woo's THE KILLER was also based). Just like Melville's hit man Jeff kills without conscience or reflection, yet still abides by an unbending code of honor, O'Neil's Driver is, ironically, more moral in his way than the obsessed, power-mad cop (Bruce Dern) who pursues him.

Walter Hill no frills, straight-to-the-gut style really works here. The costumes, sets, and cinematography are dark, understated, and really engrossing, especially on repeated viewings. I believe that this is a movie that grad-school film students will be watching 100 years from now. ... Read more

Reviews (1)

Great story, fantastic music, memorable movie
I have wanted to see this movie again, and have tried to find it to no avail. It was responsible for my new found interest in smooth jazz, and I really want the soundtrack as well. I would love to buy the movie, but it is too expensive at this time. It really stands out in my mind as a very mind-grabing story with characters who you became involved with, and the music really made everything work. Loved it. Would like to know where I could get the soundtrack. Any help out there? ... Read more

Amazon.com

A hotshot stockbroker bets it all--and loses it all--in one day, effectively ruining all his customers while ending his career. So, naturally, he turns to that old stockbroker standby: he becomes a bicycle messenger. Kevin Bacon may have made this film simply to extend the strands of the Six Degrees of Kevin Bacon game; it's hard to imagine any other reason. Otherwise, this mid-'80s film stands as yet another example of a movie influenced by MTV without understanding what MTV does. Eventually, Bacon leads the exploited masses of messengers in an uprising against unfair labor practices by the evil bosses. There's an original concept. Notable as yet another film to give a role to the dazzlingly untalented Jami Gertz. --Marshall Fine ... Read more

Reviews (11)

Stockbroker to courier
The movie is set in an unnamed city, but I live in San Francisco, and it is obvious that the movie was shot here, even though the filmmakers tried to avoid shooting landmarks.

The Pacific Exchange is located downtown and that is probably where Bacon's character works. However, the exchange's equities floor went fully electronic in 3/2002 and there is no longer a trading floor full of traders yelling at each other. The options floor is still open.

I would recommend this film to fans of bicycle movies and maybe Kevin Bacon movies. I'm a fan of cycling movies, so I own a copy and have seen it several times. I work in an office job and used to be a pretty hardcore cyclist. I used to fantasize being a SF messenger. However, I also knew that my lifestyle required more than [their salary].

The cycling scenes are fun but there are some continuity problems. In closeups, Kevin Bacon's bicycle lacks brakes and gears, which is consistent with the fashion among many messengers to ride fixed gear/track bikes on the street. However, in many of the stunt shots, when he is racing down the hills, the stuntman cyclist is clearly on a freewheel-equipped bike and probably has brakes.

There are also several scenes shot in Kevin's massive loft apartment. It might have been possible for a messenger to have his own large loft apartment in the 80's, where he can play with his ballerina girlfriend. However, that apartment probably costs [a lot more] today!

absolute garbage
This film is pure nonsense. Bacon's character supposedly rides a fixed, but in the "race" scene midway through the film, it is obvious that the stunt double rides a freewheel bike. He should always be peddling, even when airborne on San Francisco hills. The lack of attention to this simple detail begs the question: why even put him on a fixed, when so many other characters ride freewheel rigs?

And don't even get me started on Kevin Bacon. I rented this because I wanted a campy, cheesy, formulaic film about bike messengers, but the filmmakers clearly had no respect for or knowledge of their subject.

BOOOOO!!!

Real Drama
Quicksilver is a pure example of how fast things can change in the real world. From the fast paced floor of the New York Stock Exchange to a "Quicksilver" bike messenger. Either way there are tasks at hand. This movie really demonstrates certain ethics and values. There are certain things people may do for extra money, but how far will they go. Will they lose everything they have or will they hit it big.

Quicksilver is a great movie for the everyday dreamer. Many people talk of the "American Dream"..... Well this just proves that there are steps to get there.

Nice bacon bit
The movie was filmed on the floor of the san francisco OPTIONS floor exchange. All the traders stayed after the close and filmed the movie. How do I know? My dad was in this movie. He worked on the floor and has several shots of him 1) at a quotron(remember those) , and 2) clearing for some one.

So obviously I am biased, but aside from my dad this is actually a pretty decent film, save the fact that no way some ex-trader is going to get on the floor take a position and make a killing. Every once and a while I bust this movie out and watch pop in his blue brioni suit working the floor. He is my hero and I will always have this to show my kids and their kids when he is no longer with me.

So get the film!

Cycling/Stocks
Cyling and Stocks

What other movie are you gonna see these two together.

Gotta see this regardless if it's from the eighties ... Read more

Reviews (26)

Welcome, Tonto
This is the third of five "Dirty Harry" films in which Eastwood stars as a San Francisco police detective. By the time the last appeared (The Dead Pool, in 1988), Eastwood had aged and times had changed but Callahan's non-negotiaable values and unorthodox methods had remained essentially the same. What I find especially interesting in this film is the relationship which develops between Callahan and his partner Kate Moore, skillfully portrayed by Tyne Daly. Until now, Callahan has indeed been a "lone ranger," alienated (by choice or circumstance) from his superiors and fellow officers as well as from the criminals whom he pursues with deadly efficiency. Over time, Moore eventually earns Callahan's respect and trust (albeit grudgingly) as they attempt to rescue San Francisco's kidnapped mayor (John Crawford) amidst all manner of mayhem unrelated to that assignment. Credit James Fargo with keeping the narrative flowing smoothly. The supporting cast is solid, notably Bradford Dillman (Captain McKay) and Harry Guardino (Lieutenant Bressler). There is plenty of action, of course, skillfully presented. Despite its lack of much subtlety or nuance, I recommend it to those with a taste for this sort of urban adventure film. Those who enjoy it should also check out Coogan's Bluff and Bullitt (both 1968) as well as The Gauntlet (1977).

Another fine example of why they call him 'Dirty' Harry.
A group of thugs passing themselves off as The People's Revolutionary Army (or something like that) grab a stockpile of weapons and ammunition, killing Harry Callahan's friend and partner in the process. Callahan's new partner is a woman, something he does not particularly agree with, and she can barely keep up as Inspector #71 tears through San Francisco looking for the PRA. The Enforcer (Dirty Harry #3) lacks the grit and energy of the first Dirty Harry and the excessive bullet riddled body count of the second (Magnum Force). In comparison it almost seems sedate, both visually and in terms of its action content. What the movie does offer is a solid, if a bit routine, police action thriller story made better than average by its script. Harry's deathbed visit to the fading Frank DiGiorgio and his snappy relationship with rookie Inspector Kate Moore are both well done. On the action side of things, fans will no doubt enjoy Harry's unique handling of a hostage situation, a foot chase across San Francisco's rooftops, and the kidnapping of The Mayor. Recommended.

Trivia - This is the only film in the series not scored by Lalo Schifrin. He was unavailable at the time. Harry Guardino returns as Lt. Bressler from the first Dirty Harry and Bradford Dillman (playing Captain McKay here) would return as Captain Briggs in the fourth Dirty Harry, Sudden Impact. Albert Popwell makes his third of four Dirty Harry appearances. In the first Harry adventure he is the wounded bankrobber on the receiving end of Harry's famous "Do you feel lucky?" speech. In the second he plays a murderous pimp who gets more than a simple traffic stop. Here is a black militant who agrees to help Harry, for a price. In the fourth he got to play Harry's friend and partner...uh-oh. Sadly he is absent in The Dead Pool.

"Power to the People"
THE ENFORCER is the third entry to the Dirty Harry series. While a good perforance by Eastwood overall, the movie does not quite match up to the Don Siegel-directed original or MAGNUM FORCE, (which I consider his best movie). While THE ENFORCER is not the weakest Dirty Harry movie, it does have the weakest plot. Here Dirty Harry has to save the city of San Fancisco from a group of rebellious punks who are obsessed with heavy artiliary. They call themselves the People's Revolutionary Strike Force, and they are led by Bobby Maxwell, a deranged Vietnam Vet who wants to terrorize the public in exchange for ransom. After slaughtering 2 gas company employees, they break into an artility warehouse to steal the goods. Harry's partner, DeGeorgio arrives on the scene and is killed in the process. While trying to try down DeGeorgio's killer, Harry is assigned a new parter in the form of Kate Moore, (Tyne Daly), a yacking half-pint who wants to impress him in every way possible. Harry doesn't quite agree with the plan, especially when she is on the force just to coincide with the mayor's plans to be "stylish." But Moore turns out to be more valuable then he ever imagined, helping lead him to Maxwell, and saving his life twice along the way.

Of all the Dirty Harry films, this one has the most humor. The comments that Callahan makes at the personel review of Moore are hilarious. We also have him driving a car through a liquor store, (continuing with the traditon of breaking up a robbery). Another funny sequence is when he chases Henry Lee Coldwell halfway across the city and back! He follows him over fences, across rooftops, and through skylights, disturbing a porn shooting in the process! Jerry Fielding took over the musical score here, and as a result, the traditional Dirty Harry theme is nowhere to be found. This is rather disappointing and takes away from the movie's serious potential. Fielding's jazzy them is effective during the chase sequence however. These film does suffer from long sequences that really aren't neccessary. The one that will really make you laugh is when Callahan enters a brothel posing as "Larry Dickman!" Dirty Harry regular, Albert Popwell, shows up here as a leader of a black militant group.

The Revolutionary Strike Force eventually switches gears by kidnapping the mayor for even more ransom. Harry is eventually is led to Alcatraz Island, where the mayor is being held captive. The climax on Alcatraz is exciting, but I wish it didn't unfold so fast. The ending is very sad, although I will not give that away. While THE ENFORCER is not up to par with the first two movies in the series, it is still a solid chapter in the book of Dirty Harry. "Power to the People."

Interesting Film, But Questionable Message
In this interesting Dirty Harry film, Harry and company duel with a weird group of "revolutionaries." While the plot and characterization are compelling, the scenario gives rise to some questions.

How come Dirty Harry never paused from his pursuit of these terrorists, and asked himself, "Why do they hate us?" Harry seemed determined simply to wipe out these terrorists, in a unilateral fashion, as a cowboy would do. He never considered forming a coalition, or dispatching inspectors to monitor the activities of the group -- there was absolutely no mention of the United Nations. Dirty Harry, in his dealings with these terrorists, was at no time compassionate, tolerant, diverse or inclusive. He just seemed to think that killing them was the only way to stop them (which, indicentally, it WAS -- but that's beside the point). Harry did not at any time take into account any specific cultural or religious motivations which might have prompted the terrorists to kill people, and he seemed to have no regard whatever for their feelings.

Shouldn't Harry have been more sensitive, diverse, tolerant, inclusive and compassionate? Isn't that the best way, according to about half the people who participated in a national survey conducted November 2000, to deal with terrorists who want to wipe you out?

It has a certain sense of style.
While not as entertaining as the original Dirty Harry, (what could be?) The Enforcer for me was the reason you went to see Rated R Movies in the first place, violence, dirty language, a touch of skin and oh yeah, violence, whether Harry is driving a car through a store window or chasing a perp across the rooftops of San Francisco, the Enforcer doesn't disappoint. Tyne Daly puts in a solid performance as Harry's uncertain yet unwavering partner who gains not only her own confidence as the story devellops, but his as well. The enforcer also anticipates political correctness almost twenty years before that plague decended on us all. ... Read more

Reviews (2)

Pretty Good but pretty much same cops/robbers themed flick.

I watched this movie and The Sweeper back to back. Both star C. Thomas Howell.

This was by far a better movie that The Sweeper and Howell comes off more convincing as a tough cop here than on Sweeper. As for the movie itself, it is pretty much a rehash of the Cops and Robbers theme, lots of action, a pretty decent plot. It's pretty predictable.

Zoe Trilling has big Juggs
If you like big juggs, there is this fine woman on here named Zoe Trilling. I haven't been able to find any other movies with her in it but that is really the only reason to purchase this video. Other than that, it's not really that good. The plot stinks and there is no action. ... Read more

Reviews (2)

NYC was one SCARY place back in the day!
It's a shame that this movie is so relatively unknown and barely seen on TV anymore. Anyone who is a fan of gritty, urban flicks set in NYC in the '70s and early '80s ("Death Wish," "Taxi Driver," "Gloria," "Fort Apache, the Bronx," etc.) should definitely check out 1979's "Defiance," starring Jan Michael Vincent as Tom Gamble, a merchant seaman who is forced to reside in Manhattan's Lower East Side until he can find employment on another ship. As it turns out, the Lower East Side (or "L.E.S." as it has come to be known over the years by its actual residents) is run by a vicious street gang known as the Savage Souls, and it isn't long before Gamble and the Souls are at odds with each other, culminating in a brutal (and very realistically-staged) fight between Gamble and the gang's leader in the hallways and stairways of a housing project .
As a Puerto Rican who has lived in Manhattan all of his life, I'll be the first to admit that there are hints of prejudice throughtout the movie: Like other vigilante films of the same era ("Death Wish," "Fighting Back," "Vigilante,"), the protagonist is a white man who is going to "clean up the streets" by taking on out-of-control minorities who have become too much of a problem for the the police to handle (in this case, it is the Souls, a mostly Puerto Rican gang led by the not-so-Puerto Rican actor Rudy Ramos). Some Puerto Ricans may be offended by the fact that some of the Souls even have the Puerto Rican flag displayed on the backs of their jackets, as well as a scene where a Jewish grocery store clerk (played by Art Carney) tells Tom how the neighborhood used to be great before "everything changed" (an indirect way of blaming the neighborhood's social problems on the influx of Puerto Ricans who have moved in).
Nevertheless, I cannot help but get swept up in nostalgia when I see "Defiance:" as dilapidated and crime-ridden as New York City's Latino neighborhoods may have been back in 1979 (and mind you, "Defiance" presents an exaggerated view of this), their imagery will always be a part of my childhood, and therefore I will always have a soft spot in my heart for a movie like this, despite the racial overtones. At the same time, I have always liked urban vigilante movies, and the sight of seeing pissed-off white men battling black and/or Latino thugs is something that, for better or for worse, goes with the territory.

Fantastic
Of course, this movie is supposed to be an action. But the movie boasts more then just fighting. The story behind th action is what supportsthe entire movie. There are many parts where there is fighting, yet you keep your mind focused on the actual thought of the movie and what itis about. Personally, I thought the movie would have done better asa drama, rather than an action, and that is it's ONLY fault. ... Read more

Reviews (6)

SORT OF A SECOND COMING OF ''BOYZ N THE HOOD''
THREE LATINO FRIENDS FACE DIFFERENT OBSTACLES IN LOS ANGELES. GOOD ACTING AND A VERY VERY CONVINCING STORY PUTS THIS A CUT ABOVE MANY OF THE OTHER GANGSTA MOVIES THAT'RE CURRENTLY DOWN AT THE VIDEO STORE RIGHT NOW. THIS MIGHT EVEN BE ABLE TO COMPARE TO ''BOYZ N THE HOOD'', WHICH I CAN'T SAY FOR MANY OF THE OTHER HOOD MOVIES THAT'RE OUT TODAY. THIS IS DEFINITELY WORTH RENTING OR BETTER YET, WORTH OWNING. I ADVISE ALL HOOD MOVIE FANATICS TO GET THIS MOVIE THE NEXT TIME THEY GO TO A VIDEO STORE. YOU'LL BE VERY VERY SUPRISED LIKE I WAS.

Sadly Overlooked
I didn't know what to expect when I bought this movie. It was one of those spur of the moment things where I saw it on the clearance rack at the corner store retailing for a whopping $... I figured I had nothing to lose, and I was right.

Road Dogz is an excellent film. It is filled with humor, drama, suspense, and morals. Some things that stood out to me in particular were the dialogue and the scene settings. They were so realistic for the movie. It made me feel like I knew the characters. I couldn't help but reminisce on some of the same conversations I had with my friends growing up.

If you think this is just a Spanish version of Boyz N The Hood, you are sadly mistaken. This movie stands on its own and powerfully delivers. At least make it a rental. You won't be disappointed.

Great Movie
This movie Road Dogz was an excellent movie. This was one movie that I could get into, and sit still to watch. I recemend this movie to everyone.

Road Dogz
I caught the end of this movie when HBO had it's Latino month and was very impressed so I had to buy it to view it from the start. So glad I did.

It reminded me of a Latino version of Boyz In The Hood and it was a welcome addition to my video library until my daughter decide to add it to her library! Now I have to buy another.

Funny, touching, moving, with a lesson for all.

True To life in that part of the USA
this is an excellent movie with an excellent message, it is about normal young men in east los angeles and they are good kids but one of their friends begins to sell drugs because he is poor. his gets involved with a murderous drug dealing scum bag which cost him his life. his friends all have each of their own problems like most youths do. good film about becoming a man and understanding what is important in life. ... Read more

Reviews (26)

Welcome, Tonto
This is the third of five "Dirty Harry" films in which Eastwood stars as a San Francisco police detective. By the time the last appeared (The Dead Pool, in 1988), Eastwood had aged and times had changed but Callahan's non-negotiaable values and unorthodox methods had remained essentially the same. What I find especially interesting in this film is the relationship which develops between Callahan and his partner Kate Moore, skillfully portrayed by Tyne Daly. Until now, Callahan has indeed been a "lone ranger," alienated (by choice or circumstance) from his superiors and fellow officers as well as from the criminals whom he pursues with deadly efficiency. Over time, Moore eventually earns Callahan's respect and trust (albeit grudgingly) as they attempt to rescue San Francisco's kidnapped mayor (John Crawford) amidst all manner of mayhem unrelated to that assignment. Credit James Fargo with keeping the narrative flowing smoothly. The supporting cast is solid, notably Bradford Dillman (Captain McKay) and Harry Guardino (Lieutenant Bressler). There is plenty of action, of course, skillfully presented. Despite its lack of much subtlety or nuance, I recommend it to those with a taste for this sort of urban adventure film. Those who enjoy it should also check out Coogan's Bluff and Bullitt (both 1968) as well as The Gauntlet (1977).

Another fine example of why they call him 'Dirty' Harry.
A group of thugs passing themselves off as The People's Revolutionary Army (or something like that) grab a stockpile of weapons and ammunition, killing Harry Callahan's friend and partner in the process. Callahan's new partner is a woman, something he does not particularly agree with, and she can barely keep up as Inspector #71 tears through San Francisco looking for the PRA. The Enforcer (Dirty Harry #3) lacks the grit and energy of the first Dirty Harry and the excessive bullet riddled body count of the second (Magnum Force). In comparison it almost seems sedate, both visually and in terms of its action content. What the movie does offer is a solid, if a bit routine, police action thriller story made better than average by its script. Harry's deathbed visit to the fading Frank DiGiorgio and his snappy relationship with rookie Inspector Kate Moore are both well done. On the action side of things, fans will no doubt enjoy Harry's unique handling of a hostage situation, a foot chase across San Francisco's rooftops, and the kidnapping of The Mayor. Recommended.

Trivia - This is the only film in the series not scored by Lalo Schifrin. He was unavailable at the time. Harry Guardino returns as Lt. Bressler from the first Dirty Harry and Bradford Dillman (playing Captain McKay here) would return as Captain Briggs in the fourth Dirty Harry, Sudden Impact. Albert Popwell makes his third of four Dirty Harry appearances. In the first Harry adventure he is the wounded bankrobber on the receiving end of Harry's famous "Do you feel lucky?" speech. In the second he plays a murderous pimp who gets more than a simple traffic stop. Here is a black militant who agrees to help Harry, for a price. In the fourth he got to play Harry's friend and partner...uh-oh. Sadly he is absent in The Dead Pool.

"Power to the People"
THE ENFORCER is the third entry to the Dirty Harry series. While a good perforance by Eastwood overall, the movie does not quite match up to the Don Siegel-directed original or MAGNUM FORCE, (which I consider his best movie). While THE ENFORCER is not the weakest Dirty Harry movie, it does have the weakest plot. Here Dirty Harry has to save the city of San Fancisco from a group of rebellious punks who are obsessed with heavy artiliary. They call themselves the People's Revolutionary Strike Force, and they are led by Bobby Maxwell, a deranged Vietnam Vet who wants to terrorize the public in exchange for ransom. After slaughtering 2 gas company employees, they break into an artility warehouse to steal the goods. Harry's partner, DeGeorgio arrives on the scene and is killed in the process. While trying to try down DeGeorgio's killer, Harry is assigned a new parter in the form of Kate Moore, (Tyne Daly), a yacking half-pint who wants to impress him in every way possible. Harry doesn't quite agree with the plan, especially when she is on the force just to coincide with the mayor's plans to be "stylish." But Moore turns out to be more valuable then he ever imagined, helping lead him to Maxwell, and saving his life twice along the way.

Of all the Dirty Harry films, this one has the most humor. The comments that Callahan makes at the personel review of Moore are hilarious. We also have him driving a car through a liquor store, (continuing with the traditon of breaking up a robbery). Another funny sequence is when he chases Henry Lee Coldwell halfway across the city and back! He follows him over fences, across rooftops, and through skylights, disturbing a porn shooting in the process! Jerry Fielding took over the musical score here, and as a result, the traditional Dirty Harry theme is nowhere to be found. This is rather disappointing and takes away from the movie's serious potential. Fielding's jazzy them is effective during the chase sequence however. These film does suffer from long sequences that really aren't neccessary. The one that will really make you laugh is when Callahan enters a brothel posing as "Larry Dickman!" Dirty Harry regular, Albert Popwell, shows up here as a leader of a black militant group.

The Revolutionary Strike Force eventually switches gears by kidnapping the mayor for even more ransom. Harry is eventually is led to Alcatraz Island, where the mayor is being held captive. The climax on Alcatraz is exciting, but I wish it didn't unfold so fast. The ending is very sad, although I will not give that away. While THE ENFORCER is not up to par with the first two movies in the series, it is still a solid chapter in the book of Dirty Harry. "Power to the People."

Interesting Film, But Questionable Message
In this interesting Dirty Harry film, Harry and company duel with a weird group of "revolutionaries." While the plot and characterization are compelling, the scenario gives rise to some questions.

How come Dirty Harry never paused from his pursuit of these terrorists, and asked himself, "Why do they hate us?" Harry seemed determined simply to wipe out these terrorists, in a unilateral fashion, as a cowboy would do. He never considered forming a coalition, or dispatching inspectors to monitor the activities of the group -- there was absolutely no mention of the United Nations. Dirty Harry, in his dealings with these terrorists, was at no time compassionate, tolerant, diverse or inclusive. He just seemed to think that killing them was the only way to stop them (which, indicentally, it WAS -- but that's beside the point). Harry did not at any time take into account any specific cultural or religious motivations which might have prompted the terrorists to kill people, and he seemed to have no regard whatever for their feelings.

Shouldn't Harry have been more sensitive, diverse, tolerant, inclusive and compassionate? Isn't that the best way, according to about half the people who participated in a national survey conducted November 2000, to deal with terrorists who want to wipe you out?

It has a certain sense of style.
While not as entertaining as the original Dirty Harry, (what could be?) The Enforcer for me was the reason you went to see Rated R Movies in the first place, violence, dirty language, a touch of skin and oh yeah, violence, whether Harry is driving a car through a store window or chasing a perp across the rooftops of San Francisco, the Enforcer doesn't disappoint. Tyne Daly puts in a solid performance as Harry's uncertain yet unwavering partner who gains not only her own confidence as the story devellops, but his as well. The enforcer also anticipates political correctness almost twenty years before that plague decended on us all. ... Read more

Amazon.com

Robert Duvall plays a veteran street cop assigned to a Los Angeles gang unit. He takes a headstrong young cop (Sean Penn) under his wing as a partner and shows him the ropes on Watts's mean streets. Penn soon realizes that his testosterone-fueled ways and hair-trigger temper won't get him very far when dealing with the gang-ridden neighborhoods of L.A. Colors is a landmark movie in several respects: it helped bring director Dennis Hopper back into the spotlight after years of self-induced obscurity. Its success at the box office forced Los Angeles's gang problems into the public consciousness and prefigured the next wave of "hood" movies (Boyz N the Hood, Menace II Society, New Jack City) by several years. Though the late-'80s milieu is a bit dated, Colors is still a vivid, absorbing film. Hopper and screenwriter Michael Schiffer give all the characters a very human dimension and go to great lengths to show gang life from both the cops' and the gangsters' points of view. Wisely, they stir in elements of the cop drama, buddy movie, and action genres, leavened with a bit of humor here and there, while keeping a social conscience. Duvall is excellent as always, as the sympathetic cop, and Penn brings a great deal of depth to what could be an unlikable character. Violent, unsettling, and highly recommended. --Jerry Renshaw ... Read more

Reviews (17)

600 gangs - 70,000 members
1988's Colors was the film that opened the Hollywood floodgate that unleashed dozens of films that attempted to capture the "reality" of life on the bottom of the food chain. The plot is simple: Sean Penn and Robert Duvall are two LA Police Department officers who try to stem the flow of violence and drugs on their beat. Duvall is an older and wiser cop on the verge of retirement who realizes how futile his job is. Penn is Danny "Pacman" McGavin, a young cop who believes that to destroy the gangs, you have to fight fire with fire. The rest of the film is director Dennis Hopper's attempt at calling attention to the urban warfare of Los Angeles. Hopper gained the trust of the local gangs and worked with them effectively; the Watts location perhaps being the most effective "character" in the film. Sean Penn is great; his aggression and dedication can't help but earn respect. Surprisingly, Hopper doesn't give Penn a believable racist edge. Instead, he throws in an utterly contrived "romance" with hispanic Maria Conchita Alonso. I felt this was a total cop-out (no pun intended).

Haskell Wexler's cinematography is excellent, though Herbie Hancock's music certainly makes it clear this film was made in the 80's. Dennis Hopper doesn't shy away from graphic violence, but he doesn't lose his grip on reality. Colors was very controversial back in the day, as people protested what they saw as the films glamorous depiction of gangs. In some ways, their warnings have proven prophetic: since Colors, the gangbang lifestyle has gone on to popularization in several movies straight through MTV. And now, even Whites have soaked up the dysfunctional world of the ghetto. Yes, the anti-gang message is there, but children do not respond to messages, they respond to images: Slick crimes and the power of brotherhood. In the end, Colors committs utter resignation to gang violence. The film makes it clear that in our current social environment, all society can do to limit the "gangsta" influence is to isolate it and let it kill itself off.

Stylish But It Could Use More Substance
Hailed by critics as one of the more important films of the 80s, "Colors" nonetheless is a fairly straightforward tragedy--there's no other direction for the story to take. Robert Duvall plays a veteran police officer working L.A.'s mean streets; hothead Sean Penn joins his CRASH anti-gang unit, predictably testing the elder partner's patience and reserve as he just tries to keep the peace and make it through that final year to retirement. Both actors bring more depth to their cliched roles than might be expected, playing off each other surprisingly well, even in moments where they are given little more to do than react. But "Colors" offers no real answers to anything. The cops are presented mostly as well-armed zookeepers, while the gang members, blessed with youth and health but not much brains, run violently about, making the story mostly a series of aimless confrontations. Art imitating life? Maybe. But careful audiences might feel they've been bamboozled, despite director Dennis Hopper's rather lofty take on it. With some scenes that are genuinely tragic and gripping--the shooting of an unarmed suspect and the movie's final scene, to name two--and a romantic subplot that deserved more time--Maria Conchita Alonso seems to just get warmed up as a bad girl flirting with the notion of being good--"Colors" seems to have more going for it than it really does. Watch it mainly for the performances and the suggestion of complexity.

A good film exploring gangs
I liked COLORS alot because it's a gritty, but realistic police drama. I grew up in bad urban streets, so I know how bad things can get. I also like the film because it explored the dangerous lives the Crypts and Bloods, who wear blue and red, naturally. There is still a bloody gang war between them, but COLORS wisely tells us they're bad background and potray them as human beings like us, and not vicious animals arrested by the police we see on TV.

Anyway, Dennis Hopper awkardly, but fantastically directed this film with Robert Duvall as a veteran cop and his young, headstrong apprentice Sean Penn, as they lead a Los Angeles gang unit against the petty crime in the streets fueled by the two rival gangs. But the boiled relationship with Duvall's calm manner and Penn's hair-trigger temper won't get them very far to survive in Watt's mean streets. That problem leads to a sad climax.

COLORS is a bit dated now when compared to more brutal, but nearly worthless gang movies nowadays. But it helped paved the way more better ones like BOYZ N THE HOOD and MENACE II SOCIETY. The film is different from both of those movies because it gives us a picturesque view of both the urban gang life and the police life.

Sup' Blood
Colors, a realistic account of the irreversible damage done to the city of Los Angeles by gang violence. Robert Duvall is partnered with trigger-happy PAC MAN(Sean Penn) and together the two deliver an action-packed adventure you'll never forget!

GOOD ACTIONER ABOUT INNER CITY GANGS
A VETERAN POLICE OFFICER [ROBERT DUVALL] IS FORCED TO WORK WITH A YOUNG KNOW IT ALL COP [SEAN PENN] IN L.A.'S CRASH UNIT. HOWEVER, THEY ARE CAUGHT UP IN A DEADLY GANG WAR. AS TIME PASSES, THEY BEGIN TO RELIZE THAT THE ONLY WAY THEY WILL STAY ALIVE IS IF THEY COME TOGETHER. VERY GOOD MOVIE THAT DEPICTS WHAT IS HAPPENING TOO MUCH AMONG GHETTO AFRICAN AMERICAN YOUTH. VERY GOOD PERFORMANCES BY THE LEADING STARS. ONLY THING THIS MOVIE COULD'VE WENT WITHOUT IS THE ROMANTIC SUBPLOT BETWEEN SEAN PENN AND MARIA CONCHITA ALONSO. BUT OTHER THAN THAT, A FANTASTIC ACTION MOVIE ABOUT STREET GANGS. ... Read more

Amazon.com

Hullaballoo Colors feels like an episode of Sesame Street played at a slower, gentler speed. The half-hour video follows the same format as the popular public television show with short, snappy animation and puppet sequences interspersed between live-action segments. A multicultural cast of children--led by a soothing-voiced grown-up, Floella, and a mute mascot, Ted Bear--hold the various components together as they paint and sing about "all the colors in the rainbow" to a catchy beat. Many of the small sketches do a good job of standing on their own. In one, a mime paints a stick-figure table into a scene to solve a problem. In another, what appear to be puppet shadows are effectively used to tell the story of an Indian legend about rainbows. It's slow enough to engage the Teletubbies crowd with enough sophistication for their elder preschool siblings. --Valerie J. Nelson ... Read more

Reviews (1)

Once you start, you can't stop.
This was a good movie. Lots of passion and suspense. Definately a good movie for those romantic dates at home. ... Read more

Reviews (6)

SORT OF A SECOND COMING OF ''BOYZ N THE HOOD''
THREE LATINO FRIENDS FACE DIFFERENT OBSTACLES IN LOS ANGELES. GOOD ACTING AND A VERY VERY CONVINCING STORY PUTS THIS A CUT ABOVE MANY OF THE OTHER GANGSTA MOVIES THAT'RE CURRENTLY DOWN AT THE VIDEO STORE RIGHT NOW. THIS MIGHT EVEN BE ABLE TO COMPARE TO ''BOYZ N THE HOOD'', WHICH I CAN'T SAY FOR MANY OF THE OTHER HOOD MOVIES THAT'RE OUT TODAY. THIS IS DEFINITELY WORTH RENTING OR BETTER YET, WORTH OWNING. I ADVISE ALL HOOD MOVIE FANATICS TO GET THIS MOVIE THE NEXT TIME THEY GO TO A VIDEO STORE. YOU'LL BE VERY VERY SUPRISED LIKE I WAS.

Sadly Overlooked
I didn't know what to expect when I bought this movie. It was one of those spur of the moment things where I saw it on the clearance rack at the corner store retailing for a whopping $... I figured I had nothing to lose, and I was right.

Road Dogz is an excellent film. It is filled with humor, drama, suspense, and morals. Some things that stood out to me in particular were the dialogue and the scene settings. They were so realistic for the movie. It made me feel like I knew the characters. I couldn't help but reminisce on some of the same conversations I had with my friends growing up.

If you think this is just a Spanish version of Boyz N The Hood, you are sadly mistaken. This movie stands on its own and powerfully delivers. At least make it a rental. You won't be disappointed.

Great Movie
This movie Road Dogz was an excellent movie. This was one movie that I could get into, and sit still to watch. I recemend this movie to everyone.

Road Dogz
I caught the end of this movie when HBO had it's Latino month and was very impressed so I had to buy it to view it from the start. So glad I did.

It reminded me of a Latino version of Boyz In The Hood and it was a welcome addition to my video library until my daughter decide to add it to her library! Now I have to buy another.

Funny, touching, moving, with a lesson for all.

True To life in that part of the USA
this is an excellent movie with an excellent message, it is about normal young men in east los angeles and they are good kids but one of their friends begins to sell drugs because he is poor. his gets involved with a murderous drug dealing scum bag which cost him his life. his friends all have each of their own problems like most youths do. good film about becoming a man and understanding what is important in life. ... Read more

Amazon.com

Trapped by his image in 1976, Clint Eastwood resurrected his Dirty Harry character for a third go-round (out of a total of five) in this potboiler story in which the San Francisco detective takes on a group of revolutionary kids. Tyne Daly costars as a female cop who partners with the reluctant Harry Callahan, and she does very well by a role created merely to underscore and articulate the hero's various virtues. It's a dull package all around, but inside the wrapping are good performances by the two leads.--Tom Keogh ... Read more

Reviews (26)

Welcome, Tonto
This is the third of five "Dirty Harry" films in which Eastwood stars as a San Francisco police detective. By the time the last appeared (The Dead Pool, in 1988), Eastwood had aged and times had changed but Callahan's non-negotiaable values and unorthodox methods had remained essentially the same. What I find especially interesting in this film is the relationship which develops between Callahan and his partner Kate Moore, skillfully portrayed by Tyne Daly. Until now, Callahan has indeed been a "lone ranger," alienated (by choice or circumstance) from his superiors and fellow officers as well as from the criminals whom he pursues with deadly efficiency. Over time, Moore eventually earns Callahan's respect and trust (albeit grudgingly) as they attempt to rescue San Francisco's kidnapped mayor (John Crawford) amidst all manner of mayhem unrelated to that assignment. Credit James Fargo with keeping the narrative flowing smoothly. The supporting cast is solid, notably Bradford Dillman (Captain McKay) and Harry Guardino (Lieutenant Bressler). There is plenty of action, of course, skillfully presented. Despite its lack of much subtlety or nuance, I recommend it to those with a taste for this sort of urban adventure film. Those who enjoy it should also check out Coogan's Bluff and Bullitt (both 1968) as well as The Gauntlet (1977).

Another fine example of why they call him 'Dirty' Harry.
A group of thugs passing themselves off as The People's Revolutionary Army (or something like that) grab a stockpile of weapons and ammunition, killing Harry Callahan's friend and partner in the process. Callahan's new partner is a woman, something he does not particularly agree with, and she can barely keep up as Inspector #71 tears through San Francisco looking for the PRA. The Enforcer (Dirty Harry #3) lacks the grit and energy of the first Dirty Harry and the excessive bullet riddled body count of the second (Magnum Force). In comparison it almost seems sedate, both visually and in terms of its action content. What the movie does offer is a solid, if a bit routine, police action thriller story made better than average by its script. Harry's deathbed visit to the fading Frank DiGiorgio and his snappy relationship with rookie Inspector Kate Moore are both well done. On the action side of things, fans will no doubt enjoy Harry's unique handling of a hostage situation, a foot chase across San Francisco's rooftops, and the kidnapping of The Mayor. Recommended.

Trivia - This is the only film in the series not scored by Lalo Schifrin. He was unavailable at the time. Harry Guardino returns as Lt. Bressler from the first Dirty Harry and Bradford Dillman (playing Captain McKay here) would return as Captain Briggs in the fourth Dirty Harry, Sudden Impact. Albert Popwell makes his third of four Dirty Harry appearances. In the first Harry adventure he is the wounded bankrobber on the receiving end of Harry's famous "Do you feel lucky?" speech. In the second he plays a murderous pimp who gets more than a simple traffic stop. Here is a black militant who agrees to help Harry, for a price. In the fourth he got to play Harry's friend and partner...uh-oh. Sadly he is absent in The Dead Pool.

"Power to the People"
THE ENFORCER is the third entry to the Dirty Harry series. While a good perforance by Eastwood overall, the movie does not quite match up to the Don Siegel-directed original or MAGNUM FORCE, (which I consider his best movie). While THE ENFORCER is not the weakest Dirty Harry movie, it does have the weakest plot. Here Dirty Harry has to save the city of San Fancisco from a group of rebellious punks who are obsessed with heavy artiliary. They call themselves the People's Revolutionary Strike Force, and they are led by Bobby Maxwell, a deranged Vietnam Vet who wants to terrorize the public in exchange for ransom. After slaughtering 2 gas company employees, they break into an artility warehouse to steal the goods. Harry's partner, DeGeorgio arrives on the scene and is killed in the process. While trying to try down DeGeorgio's killer, Harry is assigned a new parter in the form of Kate Moore, (Tyne Daly), a yacking half-pint who wants to impress him in every way possible. Harry doesn't quite agree with the plan, especially when she is on the force just to coincide with the mayor's plans to be "stylish." But Moore turns out to be more valuable then he ever imagined, helping lead him to Maxwell, and saving his life twice along the way.

Of all the Dirty Harry films, this one has the most humor. The comments that Callahan makes at the personel review of Moore are hilarious. We also have him driving a car through a liquor store, (continuing with the traditon of breaking up a robbery). Another funny sequence is when he chases Henry Lee Coldwell halfway across the city and back! He follows him over fences, across rooftops, and through skylights, disturbing a porn shooting in the process! Jerry Fielding took over the musical score here, and as a result, the traditional Dirty Harry theme is nowhere to be found. This is rather disappointing and takes away from the movie's serious potential. Fielding's jazzy them is effective during the chase sequence however. These film does suffer from long sequences that really aren't neccessary. The one that will really make you laugh is when Callahan enters a brothel posing as "Larry Dickman!" Dirty Harry regular, Albert Popwell, shows up here as a leader of a black militant group.

The Revolutionary Strike Force eventually switches gears by kidnapping the mayor for even more ransom. Harry is eventually is led to Alcatraz Island, where the mayor is being held captive. The climax on Alcatraz is exciting, but I wish it didn't unfold so fast. The ending is very sad, although I will not give that away. While THE ENFORCER is not up to par with the first two movies in the series, it is still a solid chapter in the book of Dirty Harry. "Power to the People."

Interesting Film, But Questionable Message
In this interesting Dirty Harry film, Harry and company duel with a weird group of "revolutionaries." While the plot and characterization are compelling, the scenario gives rise to some questions.

How come Dirty Harry never paused from his pursuit of these terrorists, and asked himself, "Why do they hate us?" Harry seemed determined simply to wipe out these terrorists, in a unilateral fashion, as a cowboy would do. He never considered forming a coalition, or dispatching inspectors to monitor the activities of the group -- there was absolutely no mention of the United Nations. Dirty Harry, in his dealings with these terrorists, was at no time compassionate, tolerant, diverse or inclusive. He just seemed to think that killing them was the only way to stop them (which, indicentally, it WAS -- but that's beside the point). Harry did not at any time take into account any specific cultural or religious motivations which might have prompted the terrorists to kill people, and he seemed to have no regard whatever for their feelings.

Shouldn't Harry have been more sensitive, diverse, tolerant, inclusive and compassionate? Isn't that the best way, according to about half the people who participated in a national survey conducted November 2000, to deal with terrorists who want to wipe you out?

It has a certain sense of style.
While not as entertaining as the original Dirty Harry, (what could be?) The Enforcer for me was the reason you went to see Rated R Movies in the first place, violence, dirty language, a touch of skin and oh yeah, violence, whether Harry is driving a car through a store window or chasing a perp across the rooftops of San Francisco, the Enforcer doesn't disappoint. Tyne Daly puts in a solid performance as Harry's uncertain yet unwavering partner who gains not only her own confidence as the story devellops, but his as well. The enforcer also anticipates political correctness almost twenty years before that plague decended on us all. ... Read more