Die Grenzwölfe

Eight hundred thousand dollars buried in desert sand in a wrecked Jeep just might be a ticket out of a Border Patrol job turning more bureaucratic and stifling by the moment. Agents Kris Kristofferson and Treat Williams try to find where the dollars, and the Jeep, and its dead driver,have come from. They'd like to split with the money and escape the irritating changes about to drive them off the Texas desert they know so well, but honesty and curiosity compel them to make sure the money's not tainted. Federal agent Kurtwood Smith, in from Washington knowing all the answers full well, has other plans for them.

I saw this film in its first release in 1984, and admired the way in which the script explored nuances of the conspiracy-fuelled '60s in American society and politics. I also liked the skill with which the script dropped hints and clues that, by film's end, were perfectly clear and coherent - a pleasing adjunct to the major puzzle of the decade. But in the years of watching it since, I've come to like best the acting skills which the cast, ably directed, demonstrate with texture and charm. Kristofferson and Williams are among the most appealing buddies you'll find in any thriller - in fact I can't think of a better pair; they complement each other as well as Al Pacino and John Goodman do in Sea of Love, and that's the highest praise I can offer. I can't think why Kristofferson and Williams (or Pacino and Goodman, for that matter) haven't been paired again by an enterprising producer. Jean Smart and Tess Harper are equally charming and nuanced in smaller roles made large by Smart's fiery energy and Harper's thoughtful attractiveness. Miguel Ferrer and Guy Boyd are perfect as a pair of amiably corrupt colleagues. On the dark side, Smith and Patrol boss Kevin Conway, as well as "Department of Public Safety" (ie. Texas Ranger) marshal Rip Torn, show how true villains are simply focused career men who believe implacably in the warped values they've espoused. Torn, at least, has the grace to change. At the end, he makes a statement to Kristofferson which might be our beacon too, our rationale for keeping up the search for truth in this lie-filled first decade of the new century: Looking back at his own choices, and forward to Kristofferson's tense future, Torn barks "Do it! Be the one who got away! Whatever happens, should've happened years ago." A very fine action film, remarkably well-performed.

For whatever reason this movie is one of my favorites. I like movies more for their overall atmosphere than any plot particulars, and this delivers those rare ingredients.

There's something intangible about the southwestern locations and the border patrol lifestyle that creates a mood not found in many films. The big desert vistas contrast well with the daily routines and grim duties of the characters.

I think "Flashpoint" is in a similar class with "Breakdown," where roller-coaster events keep unfolding and remain unpredictable until the very end. It may be somewhat obscure but I wouldn't call it a "B movie" by any means.

I remember seeing this movie when it first came out in 1984, and was frankly lost. But several years ago I found it on video and bought it. After seeing it all over again, I now understand it.

This movie is very similar in some ways to The Sixth Sense. There were lots of plot items sitting in the open, but you never see them. Clues and hints are dropped constantly into this movie. And at the end, is where they are all suddenly brought together.

I do not compare this to Sixth Sense for quality, but it is worth seeing in my opinion. Expecially if you are one of the JFK conspiracy nuts. There is enough information in this movie alone to give Oliver Stone 4 or 5 more movies.

I remember well watching Flashpoint on HBO in the summer 1984. It was a really good movie then, and remains one of my favorites today. This was one of the earliest filmmaking partnerships the fledgling cable movie network attempted. The success of Flashpoint, and a handful of others, eventually evolved into one of the most innovative film production companies in modern cinema.

While Flashpoint played in a handful of theaters in a few major markets, it was always intended for the small screen (that's what we called TV when a 27-inch CRT was considered big). I'm quite sure a 16:9 version does not even exist.

Based on the modestly successful novel by George LaFountaine, the film strays from the original story in many respects. As one might expect, the book is significantly longer, with a vastly more complicated plot. The characters of Logan and Wiatt are reversed in terms of their backgrounds and personalities. Desert Rat "Amarillo" and Sheriff Wells factor more thickly into the tale, and the Feds are even more ruthless - but the twist and payoff are the same.

Overall, director William Tannen's treatment is well done. It is clearly a modest budget film, I suspect the lion's share was spent on the drug bust scene and Kristofferson's contract. In case you didn't know, Kris was a hot property in the 80s, and commanded steep appearance fees. Treat Williams was a virtual unknown, as was Kurtwood Smith (later to gain fame as the father in "That 70s Show"). Rip Torn and Roberts Blossom are their usual brilliant, crusty, lovable selves. Tess Harper and Jean Smart both have limited roles, but provide a love interest for our protagonists, and additional visual appeal beyond the stunning panorama of the West Texas border country.

What really keeps this film rolling is the outstanding score by Tangerine Dream. It is alternately compelling and ominous in all the right places. The music is clearly 80s instrumentation, but has a timeless quality that keeps it fresh, even today. The curious choice of a poorly written and awkwardly performed Kristofferson ballad over the closing titles is the only flaw in the soundtrack; but again, that most likely resulted from over excitement at landing such a hot star for such a modest film.

If you're looking for a cinematic masterpiece, this isn't it. But if you enjoy a well-crafted mystery that brushes lightly against one of the pivotal points of the 20th century, Flashpoint is 90 minutes well spent.

HBO movie that was shown on their network and also shown in theatres{at least in my area}.From the outset i think the story was both intriguing and thought provoking.Treat Williams does an excellent job as the disgruntled border patrol agent who is so fed up things that anything will set him off.The desert scenes were shot very well and the music from Tangerine Dream just goes exceptionally well throughout the picture.My only complaint is with the editing off the movie which was a few holes but i will give first-time director William Tannen a break there.Great ensemble of cast including Rip Torn who never dissapoints.The movie is peppered here and there with some pretty humorous moments which just add to the enjoyment of the film.I had been waiting for a dvd version to come out but i gave up recently and got the new vhs version which wasn't too bad.