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| Original Title |
Last Boy Scout, The |
| Director |
Tony Scott |
| Genre |
Action, Thriller |
| Released |
1991-12-13 |
| MPAA Rating |
None |
| Rated |
6.4 |
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| A down and out cynical detective teams up with a down and out ex-quarterback to try and solve a murder case involving a pro football team and a politician. |
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| Bruce Willis as Joe Cornelius Hallenbeck , Damon Wayans as James Alexander 'Jimmy/Jim' Dix , Chelsea Field as Sarah Hallenbeck , Noble Willingham as Sheldon 'Shelly' Marcone , Taylor Negron as Milo , Danielle Harris as Darian Hallenbeck , Halle Berry as Cory , Bruce McGill as Mike Matthews , Badja Djola as Alley Thug , Kim Coates as Chet , Chelcie Ross as Senator Calvin Baynard , Joe Santos as Lieutenant Benjamin Bessalo , Clarence Felder as McCoskey , Tony Longo as Big Ray Walston , Frank Collison as Pablo |
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Be Prepared for Satan Claus
Spoilers herein.
This is of interest for those that study the evolution of the action film,
the slipperiest timeclock in popular culture. Here, the old black guy white
guy formula is extended with a little self-reference and the introduction of
a little noir spice. The heros can't win: the black guy is an illiterate
drugaddicted jock, but it is because of things done to him. The white guy is
a crusader for justice who, among other things has a cheating wife. In fact,
all his woes are related to sex and power.
The noir/action mix would not last long, with a few experiments using Willis
and one interesting one with Mel Gibson. Humor was thought to be the key.
Didn't work.
I find the engineered self-reference most interesting. All these stories are
scrupulously studied, and the football stadium element is no accident. It
opens and closes the film, bracketing it. The obvious reason is ride the
wave of other self-referential films from the period (until now). One man is
an observer, one a performer. Each has a female partner that matches, and
the little girl is a mix with her puppet.
This sort of thing used to be placed in film stories as a matter of art. Of
course no art is intended here, just selling tickets. So what is interesting
is that by 1991 at least some powerful studio executives believed that such
self-reference had so entered the psyche that it was subliminally
natural.
From the director's perspective, this is just another milestone in Tony
Scott's development into a flashy but empty filmmaker.
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