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.

Short Attention Span Review: Dragon Squad (2005)

Dragon Squad (a.k.a. Dragon Heat) is film that was released with lofty expectations in 2005 and failed to generate a lot of buzz.  I'm not sure why, as I think this even blend of martial arts mayhem and gunfire is a thrilling feature.  The pacing is a bit off-kilter, but the plot is pretty straightforward and the movie is easy to follow.  Sure, some of the stylish tricks Daniel Lee pulls out of his bag are duds, but I can't fault the guy for swinging for the fences, and in doing so he also produces some really cool moments and a hell of a lot of excitement.  Most of the hand-to-hand combat comes courtesy of Sammo Hung and Huh Joon Ho, who square off in a pair of excellent battles, the second of which is probably the highlight of Dragon Squad.  The gunfights are riveting, and there are car chases, foot chases, and even a sniper duel to keep things popping.  Michael Biehn is on hand to play the lead villain, and he's one cold but charismatic dude.  I thought he brought a lot to the picture and I genuinely enjoyed this action-packed movie that underperformed when it was originally released in Hong Kong.  Maybe many were hoping for standard kung fu fare or a straight up shoot 'em up, or perhaps the director's creativity and flair were a bit too much for most audiences.  I'm not sure, but I have no qualms about recommending Dragon Squad.

Final Grade: B

Stylish and energetic, Dragon Squad is a solid action film.

O.K. by Paul West

I just finished O.K. by Paul West, labelled an account of "the corral, the Earps, and Doc Holliday," and in truth it is all of those things, though the emphasis here clearly rests upon the latter.  This is Doc's story, told from Doc's point of view, and it centers on a complex and vastly misunderstood man's efforts to define himself.  Is he a dentist, a gentleman, a gambler, a gunslinger, or an agent of the law?  Is he all of the above?  In West's unique take on the man, no one knows, least of all Doc--at least the Doc whose mind West attempts to crawl inside.  Of course, whether or not his take on the notorious figure is accurate or not is debatable, but there is a sense that the author may have latched onto something authentic.  I found his efforts to flesh out this iconic gunmen to be both moving and inspiring, and I applaud his work here.

The prose is poetic and roams throughout the book, carrying us through the details of Doc's life, savoring some of his most memorable moments while treating others like minor details (or essentially ignoring them) in lieu of further detailing Doc's raging eternal debate.  It's rich stuff; Doc questions religion, loyalty, integrity, sex, and death, all in great detail, and West is happy to take us into the furthest reaches of a quizzical killer's mind as these themes are explored. 

West has done his homework, yet there are inaccuracies here, and honestly I don't think that a wholly accurate representation of the man was nearly as intriguing to the author as a chance to unravel the mysteries of Holliday's mind.  At best, this endeavor largely consists of guesswork, and as such, those looking for a scholarly take on the material will not be pleased.  Additionally, the very approach will put many off.  I must confess that I loathed West's work initially, though his writing soon wormed its way into my heart.  In the end, I enjoyed the book and would recommend it to those who can approach the tale with an open mind.  In the final two pages alone, I was inspired to laugh out loud before West nearly brought me to tears.

Bonus points: two of my favorite lines, both of which I decided to tweet, were contained within the same paragraph.

"I am climbing socially, I guess, downward.  From dentist to assassin.  Not bad."

"Ike Clanton was always looking for everybody until he found them, and then he lost interest."