El rey de Nueva York

King of New York(1990) is an excellent movie that is Abel Ferrara's most stylish film. As years go by, King of New York is a film that will be more respected and seen as an example of Ferrara's best work. It was the second best gangster film in 1990 next to Martin Scorsese's Goodfellas. The direction is surpurb and the characters are filled with colorful traits.

King of New York(1990) is a modern reworking of the Robin Hood legend. Its basically about a former drug lord who wants to use drug money to help poor and unfortunate people. Christopher Walken gives one of his five top best performances in the role of Frank. The feature is a neo noir because there are no people except for a couple that are likable.

The violence in this film is very brutal and done with plenty of flair. Frank's plans do not work out as everyone is out to get him(espically the police). Frank is a person who's alive on the outside but dead on the inside. King of New York has been compared to Scarface(1983) but I believe that this movie is closer in spirit to Ringo Lam's City on Fire(1987) and the two Chow Yun Fat/Andy Lau films of Rich & Famous(1986) and Tragic Hero(1987).

Laurence Fishburne gives a very good performance as Frank's loyal right hand man. In fact, all of the action sequences involving him makes the actor the Hollywood B-movie eqevulent of Chow Yun Fat with his two gun act. Steve Buscemi has a bit part as a rival drug dealer. I only wished that the idea of putting a contract on the police was expanded on with a few scenes of many police officers being assassinated by Frank's men.

One scene that is terrific is the scene where the police dressed up as drug dealers who raid and try to terminate Frank and his gang. Another excellent scene is the funeral sequence. The ending is unusually low key for a mafia flick. I would like to see a director's cut of this film released on video because I feel that something's missing from the R-rated version.

In many of Ferrara's best films, including The King of New York, good and evil are not simply blurred distinctions, they are inseparable. Though this characteristic is more apparent and more powerfully examined in Bad Lieutenant than 'King', there are characters on both sides of the central conflict in this film who are equally disturbing and despicable. The word anti-hero was made for the main characters in this film.

Leading in one of his better roles since Deer Hunter, is Christopher Walken. The support cast is something of an all-star list of genre films - Fishburne, Caruso, Snipes, Giancarlo Esposito, Buscemi... And all of the acting is excellent.

Walken plays a sociopathic organized crime kingpin who has just been released from jail and wants to improve his public image while taking over all of the profitable crime in New York. So, he starts offing the competition and donating to impoverished hospitals, etc. Some have compared Frank White to Robin Hood, but since I find it difficult to think of the English Folk hero as a psychotic with no moral compass whatsoever, I disagree.

Worth seeing for Walken and Fishburne's performances alone, King of New York has, over the years developed something of a cult following. Considering the cast and the directorial talent, this is no surprise. Ferrara makes an entertaining film which, though it doesn't offer a great deal of new material, offers some unique characterizations and avoid devolving into straight action.

Highly recommended for fans of Walken, Fishburne, Caruso and Ferrara. Recommended for crime drama and gangsta film fans. Weakly recommended for Snipes fans.

This is a strange movie. The IMDb trivia notes for the movie state that the director and writer spent five years working on the script, yet the story is disjointed and doesn't have a strong plot. The story basically follows the life of drug kingpin Frank White (Christopher Walken) after he is released from prison and re-enters the criminal world to reclaim his drug empire. However, there's not much character development and many of the characters are one dimensional. And the movie could be called over-stylized.

Yet, somehow it all works and this movie, while not a classic, could be considered a cult classic for its great cinematography, superb acting performances, tense action sequences, its cinematic risk taking and its outright coolness. For a movie shot in the late 80's (released in 1990) its ahead of its time.

Christopher Walken gives a great performance as Frank White. Many viewers who may only know Walken from his more recent appearances as "the weird but cool guy" will be surprised by the multifaceted performance he gives here. The late Victor Argo's performance as White's nemesis on the police force, Roy Bishop, should also be noted. Argo gives a note perfect, yet nuanced portrayal, of a weary, "seen it all" cop who is determined to get his man.

Wesley Snipes and Laurence Fishburne were still early in their film careers while appearing in this movie, but you can clearly see the qualities that would make them stars. Both bring depth and realism to their otherwise stock characters. David Caruso also does a great job with his character. One of the shortcomings of the movie is that there's no strong female lead... Frank White has a relationship with one of his attorney's, Jennifer (Janet Julian), but the script leaves out a lot of details (e.g., why they are together in the first place). In fact, all the women in this movie look like models which only adds to the stylized unreality the movie creates.

Finally, I have to mention the oldschool rap soundtrack which fits the proceedings to a "t".

If you are a fan of crime/action movies, "King of New York" comes recommended, but fair warning, its not your typical gangsta flick.

Now here's a film with a mean edge....very mean....almost too mean. If I didn't like Christopher Walken (and who doesn't?) I wouldn't have watched this low- life trash. But Walken makes the trash fashionable somehow. Plus, I always like looking at great nighttime shots of New York City.

A nice job of restoration was done on this latest two-disc DVD. The film finally looks good. This is stylishly filmed, too.

Story-wise, as mentioned, it's very rough, lots of f-words, and a simple story of a crime boss who is released from jail and is trying to reclaim his hold on the city's mob scene.

It's an interesting cast. Besides Walken is a trio of actors who wound up becoming stars: David Caruso (a TV star), Lawrence Fishburne and Wesley Snipes. All of them are nasty, too. Sometimes they make Walken look good in comparison. Unfortunately, two of those guys are cops and filmmakers love to make the cops into unlikable bad guys. They certainly are here.

So, if you're feeling ornery and want to take out some hostility without hurting anyone or anything, just flip this disc in your DVD and it should be what the doctor ordered. If you can relate to any of these people in this movie, call a minister, priest, rabbi or psychiatrist. You need help.

Crime lord Frank White (Christopher Walken) is released from prison, and on his long drive back to New York City, witnesses the filth his city has descended into since his incarceration. His old friend Jimmy Jump (Laurence Fishburne) has just wiped out a Colombian drug operation and welcomes Frank back with a suitcase full of money and cocaine. Eager to win his city back, and also help fund the saving of an inner city hospital through his drug operation, he sets the wheels to his crowning in motion. But cops Roy Bishop (Victor Argo), Gilley (David Caruso) and Flanigan (Wesley Snipes) are on his case, but after struggling to bring Frank in under regulations, resort to more illegal methods of getting him off the streets.

King of New York was booed upon its initial screenings, with mass walk- outs and cult director Abel Ferrara being bombarded with uncomfortable questions. Audiences were apparently appalled by the films seemingly glamorous depiction of man who was essentially a homicidal maniac, encouraging violence and sleaze wherever he went. The film is certainly guilty of that, but the character of Frank is a little different to the likes of Tony Montana or Henry Hill. He seems to style himself as a champion of the lower-classes, using his influence and vast wealth to push a councilman to put forth the money to save a hospital in a poverty-stricken area, and then fund it himself when that fails. He and his girlfriend Jennifer (Janet Julian) are robbed on the subway by inner-city youths. Frank shown them his gun, and they back off, but Frank throws them a wad of money and tells them there is work for them if they want it. A crime-lord he may be, but is he any worse than the fat politicians that soak up the city's money, or the bent cops that are on his back?

In Walken's hands, White is a charismatic, unconventional crime boss, and is in turns charming, strange, and deranged. It's a fabulous performance, but for me it was Laurence (here still credited as Larry) Fishburne that steals the show, as the swaggering, loud-mouthed gun-man Jimmy ("yo, where the chicken at?" he says after killing a cop), a man of such ridiculous posturing that he almost becomes a cartoon character. And this is one of the main reasons I loved this film. It is, at times, so outlandishly over-the-top that it should betray its gritty roots, but its so steeped in atmosphere and that key element, grime, that it becomes a fantasy-laden, insane ride amongst a decaying city and one its most colourful characters.

For anyone who has seen the work of Abel Ferrara, especially two of his most popular films, The Driller Killer (1979) and Bad Lieutenant (1992), will know what they are in for. His New York is not the one you see in the earlier works of Woody Allen, but one of whacked-out prostitutes, cocaine-sniffing criminals, inner-city poverty, and angry, sweaty, middle-aged detectives. We do glimpse the glitzier side of the city in King of New York, as Frank often mingles with the politicians and power- players, but it is a world of black suits and orange lighting, and a world that shares the same depravity and sleaze as the lower-classes. It's a grim thing to see through Abel Ferrara's gaze, but boy is it brimming with atmosphere. This will always play second or third fiddle to the likes of Scarface (1983), but King of New York is the film the former could never be, and in its own depressing way, is a much better film. Undoubtedly Ferrara's finest, and most 'polished' work.

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