260 chrono

In a way, having a Porsche in a city like Los Angeles is a clear invitation for car thieves to take them, as demonstrated in "No Man's Land", the 1987 film that has a look of a movie made for television. It's no wonder since its director and writer, Peter Werner and Dick Wolf, are veterans of the medium. Ron Howard is listed as a producer.

"No Man's Land" is worth a look because in spite of its flaws, because it shows an interesting aspect of the complex relationship between a police undercover cop and the young man who is the master mind in the car stealing robberies plaguing the city. The interaction between these two opposites is well played by the two leading actors, B. D. Sweeney, and Charlie Sheen.

Charlie Sheen, gives a restrained performance here. In fact, this actor tends to go for intensity without the proper guidance of a good director. As the slick Ted Varrick, Mr. Sheen shows a subtle side that we don't see too often. B.D. Sweeney is also effective as the undercover man who falls for Ann, who happens to be Ted's sister. Mr. Sweeney has that clean look about him that makes him perfectly suited for the good natured Bill, the mechanic he pretends to be.

Others faces in the film includes Lara Harris who plays Ann, the woman in love with the man hunting her own brother. Randy Quaid is seen briefly as Lt. Bracey, who is responsible for getting one of his men infiltrate the car stealing ring.

"No Man's Land" has the ubiquitous car chases and visual effects of pictures of this genre. The cinematography of Hiro Narita shows us a lot of Los Angeles shopping malls and high priced stores where the car thieves love to steal the Porsches.

I hate to praise Charlie Sheen, but I must.He played this role so perfectly, that I forgot I was watching a movie. I know that's a cliché by now, but it applies.

You know the plot from the other reviews. Boyish undercover cop infiltrates a mechanic shop and befriends the owner, whom he is assigned to tail. That's because he is a suspected car thief and murderer.

Think "Point Break" here, only 4 years earlier. A charismatic bad boy, sucks a peer into his criminal world, and the peer is actually in law enforcement.

If you love 80s movies set amidst the glitz of 80s L.A., with fancy cars and classic obscure 80s dance tunes thrown in, you will love this one.

I couldn't help envying the adventure that the D.B. Sweeney character was having. Nothing exciting ever happens to me. He gets introduced to the world of "the rich and aimless," gets a brother-like best friend who gives him money and lavish gifts, and he falls in love with a beautiful rich girl.

There were a couple of authenticity problems I have to mention. The Sweeney character was supposed to be a 22 year old rookie, yet he was working undercover. Wouldn't that be a bit advanced for him? He was not a detective. But I guess they had to use him, because of his mechanical acumen with Porsches.

Also, in order to get hired as a Porsche mechanic, wouldn't he have to show that he passed certification classes? Having just worked on some old cars in his driveway, would he really be skilled enough to work with professional foreign car mechanics, without taking any courses?

The Randy Quaid character was a little comic-bookie, or over-the-top angry, but I guess they had to establish the tension between him and the rookie.

The final showdown will again remind you of "Point Break." Enjoy it. This is definitely a guy's movie.

Yes its from the 80s, half of the movies were just as bad during the decade, especially cheesy teen flicks and horror but this movie's not so bad to look at. If the plot happens to be a bomb then I guess the hot Porsches make up for it, they are definitely not to be missed. Some of the chase scenes are downright silly, I mean be real, an old 70's American iron (unless a muscle car) would not keep up with a Porsche, no sir! Anyways, pretty okay 80s flick, slow at times but got to love them Porsches. 6 out 10.

D. B. Sweeney plays a rookie cop and hobby mechanic who is persuaded by his boss (Randy Quaid) to go undercover in order to infiltrate and take down a luxury car theft operation ostensibly led by the flashy Ted Varrick (Charlie Sheen). Although not garnering the ravest reviews back when it was released, this film written by Dick Wolf has more aspirations for itself than it has been given credit for. As a look at the subculture of mechanics and garages, it is worthy and knowledgeable. And despite being far more predictable as a procedural, arguably lacking in suspense and nerve, you do ultimately care a little bit for Sweeney's character - and perhaps even Sheen's. The former brings the right level of blue-eyedness to his part, and the latter demonstrates that his talent was arguably underrated. The love interest is played by model Lara Harris. Also with R. D. Call as Sheen's rival.

This film is nearly 20 years old, but still rates as one of the best movies I've ever seen.

Following the title sequence which sets the violent scene of car crime which forms the backdrop for this film, Peter Werner opens the film with a fairly protracted scene featuring the central character (22-year-old rookie cop, Benjy) in his home environment. This marks the start of some brilliant characterisation which underpins the whole film, causing the viewer not to perceive that there is a "villain of the piece". As an enviable friendship between Bengy and the police target, suspected ringleader and businessman, Ted Varrick (Charlie Sheen) develops, the viewer yearns to be in ether's shoes, as Ted welcomes Bengy to his world of the "rich and aimless". This envy is part based on the complex hedonistic and idealistic relationships between all the characters that evolves, but ultimately everything relies for its roots on Bengy and Teds crime sprees, something that ultimately must end.

The deterioration is palpable, and when ultimately the reckoning comes, it does so in series of twists that drive the two friends together (something very much cunningly engineered by Ted himself). The end represents a self fulfilling prophesy that left me craving for more, yet knowing there could be no sequel.

The contrast between the pair is very much a focal point, the only commonality being their devotion to their own goals - goals which for Bengy at least become very blurred, as Ted gives him the Porsche and the lifestyle that form the focus of his own existence. The domestic opening scene is a stark contrast for the remote, empty but undeniabley plush and palacial house that Ted "visits" rather than truly lives in, with its stunning view from the hills over the city.

The film is bolstered by some spectacular car chase sequences that are plausible in a way that modern sequences rarely are. They all involve Porsche 911's and if there is ever any incredulity it comes from these sequences only. Could an Oldsmobile ever keep pace with a works Porsche? How could an Iroc Z ever hope to keep up, and if it did, and crashed into the lightweight Porsche, how on earth does it fail to leave a scratch?

Romantic interest is enticingly present as Ted encourages the relationship between Bengy and his own sister Anne (Lara Harris) but it never manages to rival, nor is intended to rival the strength of the bond between Ted and Bengy.

Utterly brilliant for the most part, I've now watched this film 8 times.

Thoroughly recommended.