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To Live and Die in L.A. 4K 1985 Ultra HD 2160p
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Сountry: USA
Cast: William Petersen, Willem Dafoe, John Pankow, Debra Feuer, John Turturro, Darlanne Fluegel, Dean Stockwell, Steve James, Robert Downey Sr., Michael Greene, Christopher Allport, Jack Hoar, Valentin de Vargas, Dwier Brown, Michael Chong, Jacqueline Giroux, Michael Zand, Bobby Bass
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A Secret Service agent (William Peterson) seeks revenge for the murder of his colleague and comes upon an elusive counterfeiter (Willem Defoe).
User Review
By the mid-eighties, William Friedkin, author of the now classic films The French Connection and The Devil's Rejection, had lost a lot of credibility. To somehow restore his reputation, he decided to return to the genre of police action movies, thanks to which he became successful, putting a picture with the pretentious title “To Live and Die in L.A.”. It would seem, well, here is another story about the revenge of a lawman to a cunning criminal for the death of his partner. How many such movies were made - can not count. However, Friedkin told a standard story very unconventional. The venerable director got to the limit pragmatic, cold, cynical and cruel crime thriller, which is not too much to the liking of the American public. It is not surprising, because we are not a standard Hollywood buddy movie with an indispensable happy ending, but rather sad and vital movie. Let's talk a little about the production.
How do we remember Los Angeles from the movies of the eighties? First of all, bright, glossy, a bit glamorous and somewhat romantic. Here the city is also bright and almost always sunny, but behind all this there is a certain oppressive and gloomy atmosphere. There is no romance here, only cynicism and literally penetrating cold. The brilliant camerawork of Robby Muller, whose skill, by the way, adorns the films of Wenders, Jarmusch and Von Trier, helped to create such an atmosphere. But it is not Muller alone that makes the visual side of the picture so good. The trademark of Friedkin-director has always been car chases, even since “The French Connection”. The chase is present here, and the chase is stunningly staged and extremely realistic. Especially in comparison, for example, with the second “Bad Guys” or the fifth “Fast and Furious”, where frankly disregarded the elementary laws of physics and any logic. Only if the cars spectacularly crashed and flew in different directions. In the movie we are considering, there is no such thing. Friedkin has achieved such an effect of presence and level of suspense, which intentionally nails the viewer to the chair, and his eyes - to the screen. This is truly a masterful job by the director. The rest of the action scenes are also distinguished by some special realism, not peculiar to the movies of that era. And this, in my opinion, is an undoubted plus. I would also like to credit Friedkin with an excellent and atmospheric soundtrack by the British new-wave band Wang Chung. Their music and songs are instantly memorable.
The actors also quite correspond to the tasks set by the director. There are no hundred-percent stars here, but there are a lot of familiar faces. The central character - FBI agent Chance played by William L. Petersen. He managed to show the line, crossed by a man, when revenge turns into the most natural obsession. The hero Petersen commits in the name of revenge acts that almost do not distinguish him from those for whom he is duty hunting. And that is his true tragedy. But the most vivid and yet negative role in this movie is that of Willem Dafoe, who played a counterfeiter Masters, who turned out to be demonic. Of course, Dafoe's appearance is appropriate for villainous roles, but he is actually a great actor. That his game in this movie, and he proved to all hundred. One of my favorite actors, John Turturro, also played a very interesting character - Masters' sidekick. It was one of his first notable roles in the movie. His handyman came out to look good.
All in all, we have a very good crime thriller, which I think has been vastly underrated. Filmed entirely in accordance with the aesthetics of the eighties, it nevertheless did not hit the mark. It was too cynical and realistic for that time. Back then, a very different approach to this kind of movie was in vogue. But this does not detract from its obvious merits. It's a great movie.
Resolution: Native 4K (2160p)
HDR: Dolby Vision, HDR10
Aspect ratio: 1.85:1
Original aspect ratio: 1.85:1
#English: FLAC 2.0
#English: Dolby Digital 2.0 (Commentary with Director William Friedkin)
User Review
By the mid-eighties, William Friedkin, author of the now classic films The French Connection and The Devil's Rejection, had lost a lot of credibility. To somehow restore his reputation, he decided to return to the genre of police action movies, thanks to which he became successful, putting a picture with the pretentious title “To Live and Die in L.A.”. It would seem, well, here is another story about the revenge of a lawman to a cunning criminal for the death of his partner. How many such movies were made - can not count. However, Friedkin told a standard story very unconventional. The venerable director got to the limit pragmatic, cold, cynical and cruel crime thriller, which is not too much to the liking of the American public. It is not surprising, because we are not a standard Hollywood buddy movie with an indispensable happy ending, but rather sad and vital movie. Let's talk a little about the production.
How do we remember Los Angeles from the movies of the eighties? First of all, bright, glossy, a bit glamorous and somewhat romantic. Here the city is also bright and almost always sunny, but behind all this there is a certain oppressive and gloomy atmosphere. There is no romance here, only cynicism and literally penetrating cold. The brilliant camerawork of Robby Muller, whose skill, by the way, adorns the films of Wenders, Jarmusch and Von Trier, helped to create such an atmosphere. But it is not Muller alone that makes the visual side of the picture so good. The trademark of Friedkin-director has always been car chases, even since “The French Connection”. The chase is present here, and the chase is stunningly staged and extremely realistic. Especially in comparison, for example, with the second “Bad Guys” or the fifth “Fast and Furious”, where frankly disregarded the elementary laws of physics and any logic. Only if the cars spectacularly crashed and flew in different directions. In the movie we are considering, there is no such thing. Friedkin has achieved such an effect of presence and level of suspense, which intentionally nails the viewer to the chair, and his eyes - to the screen. This is truly a masterful job by the director. The rest of the action scenes are also distinguished by some special realism, not peculiar to the movies of that era. And this, in my opinion, is an undoubted plus. I would also like to credit Friedkin with an excellent and atmospheric soundtrack by the British new-wave band Wang Chung. Their music and songs are instantly memorable.
The actors also quite correspond to the tasks set by the director. There are no hundred-percent stars here, but there are a lot of familiar faces. The central character - FBI agent Chance played by William L. Petersen. He managed to show the line, crossed by a man, when revenge turns into the most natural obsession. The hero Petersen commits in the name of revenge acts that almost do not distinguish him from those for whom he is duty hunting. And that is his true tragedy. But the most vivid and yet negative role in this movie is that of Willem Dafoe, who played a counterfeiter Masters, who turned out to be demonic. Of course, Dafoe's appearance is appropriate for villainous roles, but he is actually a great actor. That his game in this movie, and he proved to all hundred. One of my favorite actors, John Turturro, also played a very interesting character - Masters' sidekick. It was one of his first notable roles in the movie. His handyman came out to look good.
All in all, we have a very good crime thriller, which I think has been vastly underrated. Filmed entirely in accordance with the aesthetics of the eighties, it nevertheless did not hit the mark. It was too cynical and realistic for that time. Back then, a very different approach to this kind of movie was in vogue. But this does not detract from its obvious merits. It's a great movie.
Info Video
Codec: HEVC / H.265 (96.4 Mb/s)Resolution: Native 4K (2160p)
HDR: Dolby Vision, HDR10
Aspect ratio: 1.85:1
Original aspect ratio: 1.85:1
Info Audio
#English: DTS-HD Master Audio 5.1 (48kHz, 24-bit)#English: FLAC 2.0
#English: Dolby Digital 2.0 (Commentary with Director William Friedkin)
Info Subtitles
English, Dutch, French, German.File size: 80.87 GB
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Watch trailer of the movie To Live and Die in L.A. 4K 1985 Ultra HD 2160p
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