Top 5 Movie Shootouts: #1) The Way of the Gun (finale)

In this Top 5, I've been ranking my favorite movie shootouts for you.  This comes with a disclaimer: I'm excluding war films because they don't really seem to fit with what I'm going for.  Maybe I'll do a Top 5 Combat Scenes one day to break them down.  As always, I welcome your thoughts on my selections, and I'm equally interested in hearing about your choices, so feel free to comment and share your take.

This list started with John Wick (the Red Circle) at #5, and since then I've listed The Wild Bunch (finale) at #4, The Good, the Bad, and the Ugly (finale) at #3, and Heat (downtown L.A.) at #2.  Now, it's time to discuss my choice for the top spot on this list, a cult classic that is near and dear to my heart.  

Top 5 Movie Shootouts: #1) The Way of the Gun (finale)

To say that I greatly enjoy The Way of the Gun would be a bit of an understatement.  If I were to list my favorite movies, it may just crack that Top 5, and it would surely be in my Top 10.  While there are many things I enjoy about the picture, the exciting and yet incredibly grim shootout that brings it to a close has to be considered its strongest asset.  As soon as I decided to put this list together, I knew that I couldn't put anything else at the very top.  To do otherwise would be disingenuous, and those who know me well will tell you that I do my best to keep it real.

While the director of The Way of the Gun, Christopher McQuarrie, isn't as much of a household name as he probably should be, critics and audiences have been much kinder to his recent work with Tom Cruise than they were to his offbeat directorial debut.  This outing came about after his script for The Usual Suspects earned him broad acclaim, and I'm not sure that a quirky yet downbeat shoot 'em up served with a healthy dose of basic criminal philosophy is what anyone expected for his first feature film.  In truth, when I watched it during its theatrical run in 2000, the final product varied greatly from my expectations.  However, since I had a blast with the picture, I never held that against it. 

Like most of the films to make this Top 5, this one combines quality direction with some terrific acting.  McQuarrie got the best performance of Ryan Phillippe's life out of him in the role of Parker, a tough guy with a penchant for mouthing off, while the one and only Benecio Del Toro is sublime as his icy counterpart, Longbaugh.  These are not likable characters, and the big gunfight that they are steadily marching toward throughout the film doesn't provide them with a likable outcome.  Oh yeah, and the weary but unwavering "bag men" who our leads square off against in this blood-soaked finale are led by none other than James Caan.

Whether the conclusion is likable or not, it is most definitely a fitting way to close out this particular film, with the riveting shootout standing as a damn-near perfect metaphor for the film as a whole.  Parker and Longbaugh are both savvy and good, and we may not like the code they live by, but we have to admire them a bit for their efforts.  Unfortunately, when they make their big play, it becomes obvious that they're just not good enough.  Fortunately, their code allows them to perish under these circumstances with their honor intact.  Hell, they went for it all and gave it their very best--and they almost pulled it off.  Like the saying goes, there's no shame in trying . . .

The cinematography is a wonderful throwback to the somber hues and the brilliant splashes of blood that made the work of directors like Leone and Peckinpah so impressive to behold.  In a way, my preference for these legends (and the inclusion of some of their best work on this list) may help to explain my fondness for this gritty sleeper.  The choreography is also excellent, with McQuarrie's brother (a former Navy Seal) giving the proceedings a serious boost in the way of technical prowess.  The gun protocol and combat tactics on display here are just as important to the overall effectiveness of the showdown as the direction and the acting.  Seriously, the final shootout in The Way of the Gun probably features more reloads than you're apt to see if you go all in for a marathon of The Cannon Group's greatest hits, and Parker and Longbaugh could have put together one hell of a clinic for properly clearing a room.

It's all a bit somber and a bit gory, and it is also quite nihilistic, but for my money, there is no finer shootout in the history of the cinema than the gloomy but painstakingly authentic* conclusion to The Way of the Gun.

*There is one gag during the big gunfight at the end where the film abandons all of the realism it has worked so hard to present and clearly lampoons a typical action film's disregard for such considerations, and this knowing wink is yet another reason I love this movie so much.

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Well, there you have it.  One recent hit, three indisputable masterpieces, and one cult classic to rule them all.  If you're a fellow cinephile and you too enjoy the occasional movie shootout, do share your thoughts.

Top 5 Movie Shootouts: #2) Heat (downtown L.A.)

In this Top 5, I'm ranking my favorite movie shootouts for you.  Many of my choices are classics that will be hard to argue, but I'm certain that my choice for #1 will ruffle some feathers.  Oh well.  I should also note that I'm excluding war films because they don't really seem to fit with what I'm going for here.  Maybe I'll do a Top 5 Combat Scenes one day to atone for that.  As always, I welcome your thoughts on my selections, and I'm equally interested in hearing about your choices, so feel free to drop a comment and give me your take.

So far, I have ranked John Wick (the Red Circle) at #5, The Wild Bunch (finale) at #4, and The Good, the Bad, and the Ugly (finale) at #3.  Now, we're really turning up the heat (forgive me) with the most bullet-laden gunfight to make my list.

Top 5 Movie Shootouts: #2) Heat (downtown L.A.)

Michael Mann is a superb filmmaker who has directed some fantastic movies, and high energy action setpieces are one of his specialties.  Heat is one of his best movies, and I don't think there's any question that the most thrilling sequence that he has ever put together is this film's high-octane shootout, which takes place in downtown L.A. during the aftermath of a high stakes robbery.

Much like The Wild Bunch, this shootout represents a dynamic pairing between a visionary director and an impeccable cast.  This time out, Robert DeNiro, Val Kilmer, and Tom Sizemore are among the professional crooks exchanging rounds with an elite task force that includes Al Pacino, Ted Levine, and Wes Studi, among others.  It's a great ensemble and they do a fantastic job of embracing the required physicality and drama of this bloody battle in the streets.

I'm not sure how many shots are fired, and I'm not sure how many innocent bystanders are gunned down, but I am certain that no other shootout on this list boasts as many flying bullets or casualties.  It's a sprawling affair that covers several blocks and consistently ratchets up the intensity, yet it's a tribute to the cast and crew that it is easy to follow and never stoops to masking lapses in clarity with the hyper-kinetic edits that have become prevalent in more recent action flicks.

This is a well-staged gunfight that does its best to remain plausible with the various combatants utilizing advanced tactics and frequently reloading.  Rambo can fire 1,000 bullets from a weapon that has a maximum capacity of 200 rounds, but these guys can't.  They utilize cover, reload when necessary, and as a result, this gripping shootout rocks.  Such a sequence could have been quite a farce in the wrong hands, but it I think it works to perfection with Michael Mann at the helm.

It should also be noted that this setpiece is a tremendous asset to the film itself.  There are some major deaths, and as a whole the shootout serves as a tremendous blowoff for all of the incredible tension that Mann's slick thriller has been building up since the opening reel.  As I said before, Heat is a terrific movie and this is truly an action sequence for the ages--and I'm not sure that either of those statements would hold true if either the overall composition of the piece or the potent gunfight that elevates the proceedings fell short. 

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Well, we're down to #1, and while I have frequently hailed my final pick as the best gunfight ever captured on film, it comes from a cult classic and not a feature with the same pedigree as the rest of my choices for this list.  With that in mind, I imagine that it will be a bit more controversial, but I guess we'll just have to wait and see.

Top 5 Movie Shootouts: #3) The Good, the Bad, and the Ugly (finale)

Okay, so here's the drill: in this Top 5, I'm ranking my favorite movie shootouts for you.  Many of the films set to make this list are classics that will be hard to argue, but I have no doubt that my choice for the top spot on this list will not sit well with many.  Oh well, I call them like I see them--and in this case, I'm 100% convinced that I'm right.  Also, I should point out that I'm excluding war films because they don't really seem to fit with what I'm going for here.  Maybe I'll do a Top 5 Combat Scenes one day to atone for that.  As always, I welcome your thoughts on my selections, and I'm equally interested in hearing about your choices, so feel free to drop a comment and give me your take.

 Thus far, we have John Wick (the Red Circle) at #5 and The Wild Bunch (finale) at #4.  Today, we're going with the very epitome of an exercise in style over substance at #3, and as such it depends more on landmark director Sergio Leone’s vision and flair and less on choreography and staging.  In fact, this is easily the simplest gunfight to make my list, and it features the fewest players.  Yet, as I noted a moment ago, this is an exercise in style, . . . and what an exercise in style it has proven to be. 

Top 5 Movie Shootouts: #3) The Good, the Bad, and the Ugly (finale)

Clint Eastwood is a true titan of the cinema, yet he was basically just some up-and-comer with a lean physique prior to his work with Leone.  I’m not sure that he or anyone else realized just how big of an impact those so-called spaghetti westerns would have on the film industry, but Leone’s daring juxtapositions and his grandeur would usher in a whole new era for one of Hollywood’s most beloved genres.  It is entirely possible that no western has had as much impact or cultural significance as The Good, the Bad, and the Ugly, and the shootout that brings this masterpiece to an end remains thoroughly enchanting.

As Eastwood, Lee Van Cleef, and Eli Wallach square off in a remote cemetery with a fortune in gold on the line, the sprawling film gives way to an operatic pairing of sight and sound.  Ennio Morricone’s monumental score perfectly captures the tension as Leone’s camera carries us through a series of extreme close-ups deftly interwoven with vivid wide shots.  Steely gazes give way to fingertips that dance above the weapons that will soon determine who winds up dead and who winds up with the gold.  The three men involved in this exhilarating standoff have each worked valiantly and suffered greatly to arrive at this moment, and Leone wrings every drop of suspense that he can out of the impending gunfire.

So deft is his touch and so perfectly suited to this wild reinvention of the western genre are the cast and Morricone’s score that the sequence remains nothing short of spellbinding to this very day.  Once the first weapon is drawn and the shots ring out, the shootout concludes in the blink of an eye, but that only underscores the power and scope of this grand finale.  Just as Leone used a daring collage of imagery and Morricone’s haunting score to perfectly capture the anticipation of this duel, he utilized brutal concision to convey the finality and brevity of the resolution to this grand yet finite conflict with the same precision and effectiveness.

Yes, this one is all about style, and it’s truly the build-up that makes this gunfight a classic, but that doesn’t impact its standing in the legacy of the cinema.  I have no qualms about featuring the poetic and visually stirring climax of The Good, the Bad, and the Ugly on my list, and I’m sure that those enjoy a great film will second that.  

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Those readers who are left wanting after this revelation should find more to their liking when my next selection arrives courtesy of a far higher body count and enough firepower to make Rambo take cover.  Look out, L.A.--the heat is on when I unveil my choice for #2 on this list.

Also, those who enjoyed this piece may want to see where I ranked The Good, the Bad, and the Ugly when I did my Top 5 Clint Eastwood Movies a while back.  Here's a hint: it's #1 with a bullet!

Top 5 Movie Shootouts: #4) The Wild Bunch (finale)

With this Top 5, I'm breaking down my favorite movie shootouts for you.  Many of the films set to make this list are classics that will be hard to argue, but I have no doubt that my choice for the top spot on this list will not sit well with many.  Also, I should point out that I'm excluding war films from this Top 5.  I may revisit them with a Top 5 Combat Scenes at some point or something of that ilk, but they didn't really seem to fit with what I'm going for here.  As always, I welcome your thoughts on my selections, and I'm equally interested in hearing about your choices, so feel free to drop a comment and give me your take.

Yesterday, I started things off with John Wick (the Red Circle) at #5, and while that was a recent gem I am going all the way back to 1969 for my next selection.

Top 5 Movie Shootouts: #4) The Wild Bunch (finale)

When you take legendary director Sam Peckinpah's knack for turning violence and machismo into a ballet of bullets and bloodshed, it should come as no surprise that one of his movies made it onto this list.  Additionally, while many of his pictures contain riveting gunfights, I think that this grand finale is Sam's greatest achievement.  Honestly, I consider the grim conclusion to The Wild Bunch to be among the best endings ever, and this rousing shootout where four men challenge an entire army is surely worthy of the #4 spot here.

The biggest attribute that this particular shootout boasts aside from Peckinpah in the director's chair is the amazing cast.  William Holden was a true leading man, and this scene allows him to march into battle with Ernest Borgnine, Ben Johnson, and Warren Oates at his side.  This rugged band of outlaws is not comprised of heroes, yet the final reel of this classic western finds the gang taking a valiant stand that will cost them their lives.  They do this because they value loyalty more than gold, and the scene where they march toward their inevitable demise perfectly sets the stage for the carnage to come.  

The violence that ensues is bold, stirring, and incredibly gruesome.  Peckinpah shot some great action bits during his lengthy career, but nothing quite like this.  The cinematography is stellar, the effects are terrific, and the performances elevate this orgy of bloodshed into the realm of classic cinema.  It is all a bit crude, but what else should we expect from The Wild Bunch?  

So brazen is this gory battle that it teeters on the brink of absurdity, but the harsh themes and the spectacular craftsmanship give it enough resonance to remain potent.  In many ways, this explosive firefight is difficult to classify, as it is clearly exciting and perversely entertaining while it is also gritty and nihilistic to such an extent that you may feel a little dirty after watching it.  I find it to be one of the most incredible climaxes ever filmed, and it is a perfect way to wrap up this tale of hard men who have become obsolete and have little to live for aside from their value to one another.  In fairness, The Wild Bunch may warrant a higher spot on this Top 5, but I had to make some difficult decisions when I put this one together.

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Tomorrow, we turn the clock back another 3 years to 1966 to discuss the next shootout to make the cut.   In the meantime, while The Wild Bunch may be Peckinpah's best motion picture, you can check out my Short Attention Span Review of Bring Me the Head of Alfredo Garcia to learn more about my favorite film from this visionary director.

Top 5 Movie Shootouts: #5) John Wick (the Red Circle)

I'm ready to tee off another Top 5, and this time I'm going to break down my favorite movie shootouts for you.  Many of the films set to make this list are classics that will be hard to argue, but there will also be some contention.  I have no doubt that my choice for the #1 spot on this list will not sit well with many, but it's an easy call as far as I'm concerned.  Additionally, I do want to point out that I'm excluding war films from this Top 5.  I may revisit them with a Top 5 Combat Scenes at some point or something of that ilk, but they didn't really seem to fit with what I'm going for here.  As always, I welcome your thoughts on my selections, and I'm equally interested in hearing about your choices, so feel free to drop a comment and give me your take.

I'm going to get things started with my choice for the #5 spot on this list, and this one goes to the new bloods.

Top 5 Movie Shootouts: #5) John Wick (the Red Circle)

I'm a big Keanu Reeves fan.  I have lots of love for so many of his movies, going all the way back to Bill & Ted's Excellent Adventure.  I consider Point Break to be a classic so far as guilty pleasures go, and I like The Matrix as much as anyone.  Hell, I have even gone to bat for Keanu's work in Francis Ford Coppola's epic take on Dracula, and that performance is reviled by most everyone for reasons I fail to comprehend.  One of Keanu's most surprising hits arrived in 2014, when John Wick seemingly came out of nowhere and reminded everyone that Reeves is a true cinema badass.

John Wick is one hell of a thrill ride, with the highlight being a spectacular shootout at a club called the Red Circle.  This dazzling setpiece showcases some killer choreography and clearly displays Keanu at his very best.  For those who don't know, this dude is all about training for his roles and bringing as much legitimate action to the proceedings as possible.  Whether we're talking about learning martial arts or tearing up the shooting range with a variety of guns, the man is dedicated.  In scenes like this, it shows up on the screen in a big way.

In addition to riddling bad guys with bullets, this shootout gets some serious bonus points for mixing in a lot of killer martial arts.  Of particular note is the presence of Daniel Bernhardt as a serious rival who actually gets the better of Wick as this wicked shootout comes to an end.  Bernhardt previously squared off against Reeves in The Matrix Reloaded and provides a credible threat, and that greatly amps up the intensity of this thrilling sequence.

I greatly enjoyed John Wick and it succeeded largely because of Keanu's presence and the amazing stunt work.  While the whole movie is loaded with excitement, it's the shootout at the Red Circle that really puts it over the top, and I find it worthy of inclusion on this list.  In fact, I seriously debated ranking it higher, but the #5 spot will have to do.

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Stay tuned, peeps--there are some classic movies coming up on this list, as well as a cult classic and a personal favorite at #1 that will have my coolest readers nodding their heads in agreement while everyone else wonders if I've gone cuckoo*.

*Pretty sure that happened sometime during the 80s.  Yes, I was only a child then, but it was the 80s.

Don't Blame Vince for True Detective's Woes

Full Disclosure: I'm a big Vince Vaughn fan.  I believe he has serious chops in addition to his obvious gift for comedy.  I thought he was really good in both The Cell and Return to Paradise and I definitely have a lot of love for Clay Pigeons.  When it comes to the comedy, I probably dig this dude more than anyone else in the laugh business these days, but that's another story.  All of this brings me to the second season of True Detective on HBO, which has been a moderately entertaining disappointment thus far--and we're skating downhill at this point.  Now, I saw this coming, so I'm not as distraught as some of the show's biggest critics.  Did anyone really think there was anything they could do to top last year's kooky Bayou blitz?  I sure as hell didn't.  That plot was golden and we got Woody Harrelson at his steady best getting absolutely blown away by Matthew McConaughey as he hit new levels of creepy cool.  There was no way that Colin Farrell, Rachel McAdams, and Taylor Kitsch were going to match that shit.  Now, Farrell has been awesome as a slimy cop on the take, McAdams has excelled with her sex-obsessed hothead detective, and Kitsch isn't necessarily mucking things up as a gay homophobe with a death wish (if you don't like my description of the character, please give me a better one).  Yet at their very best, none of these cats stood a chance of going toe to toe with Mad McConaughey. 

Anyway, the show hasn't lived up to expectations and I've read a lot of bad press regarding Vince Vaughn as the heavy.  Some seem to think that he is largely to blame for the fact that this season is a far cry from the glory of that marvelous first season, one of the best seasons of television ever produced.  Look, whatever shortcomings the show has, it isn't on Vince.  Some of his dialogue has been a bit overwrought (his basement monologue was certainly uneven in spots), but I think he's killing it.  There's definitely a The Long Good Friday vibe to his mobster who wanted to go legit only to get forced back into the game in a big way, but the role remains fresh and I think his arc is the best thing about this season of True Detective.  I like the cops, but I would watch this show if it was strictly centered on Vaughn's character.  Frank Semyon is a manipulative bastard who is fully capable of getting his hands dirty, but he's mostly successful at masking his destructive prowess, and at his best he is actually a warm and charismatic human being.  As his best laid plans continue to unravel, I find myself rooting for the guy even though he deserves exactly what's coming to him. 

In closing, the second season of True Detective isn't as good as the first one.  It isn't really all that close, but shame on those who thought that wouldn't be the case.  Regardless, it's a solid show and the talent is delivering the goods, particularly Vince Vaughn, who is stealing the show in a rare non-comedic role.  Dude is money.  That's my take, anyway.  Let me know if you disagree.

Short Attention Span Review: Broken Trail (2006)

I'm a big fan of Walter Hill's work--in fact, I think he is one of the most underrated directors of all time.  He's the man responsible for hit movies like 48 Hrs. and The Warriors, as well as unheralded gems like The Long Riders, Southern Comfort, and The Driver.  Most of his pictures (to include those set in modern times) rely on western themes and feature tough heroes and despicable villains at odds over their individual views on justice and the law.  Until recently, I had never viewed Hill's 2006 miniseries Broken Trail, which originally aired on AMC.  I'm glad I finally gave it a look--Broken Trail is an excellent western, and excellent westerns are hard to come by these days.  Robert Duvall stars alongside Thomas Haden Church and it's no surprise that Duvall excels as an ornery cowpoke with a soft and gentle side he works very hard to conceal.  Church is a bit of a revelation here, though, and that did surprise me.  Tough, brooding, and direct, it's his performance as Tom Harte that really steals the show.  The picture is built around an attempt to drive horses across the country that becomes more and more complicated as various twists of fate test our capable leads.  Broken Trail contains a few riveting setpieces, but it relies more on character development and intrigue than shootouts to tell its story, and as such it won't appeal to those who measure a good western by how many shots are fired.  There's as much time devoted to the relationships forged with a handful of Asian women who wind up under the care of our hardened cowboys as there is time devoted to their struggles with the various bad men who they encounter along the way.  Broken Trail may disappoint those looking for an action-packed jaunt through the wild west, but it will greatly please those who want to see a detailed saga about good people faced with difficult choices.  I often put Hill's work on a pedestal, and I feel that Broken Trail ranks among his very best.  In fact, it may be his most thoughtful and moving effort, and I highly recommend it to those who enjoy a rich story with a lot of scope. 

Final Grade: A