Dead bang - A colpo sicuro

This crime drama was barely released by the studio, so not many got to see it. It IS, however, a cut or two above your usual routine action film, with an absorbing (and topical) story, good acting and solid direction by veteran director John Frankenheimer. Not a classic, but there are many WORSE films out there. If you're only used to seeing him on "Miami Vice" as the ultra-cool Sonny Crockett, Johnson may surprise you here with a his performance....he's gritty, funny, flawed and very real (both the character and story here are fact-based). The scene where he vomits on a suspect after a blocks-long foot chase (he's hung over from a previous night's alcohol binge) is a classic....gross, but hilarious.

Wow... what can I say? I wasn't much a fan of Don Johnson and didn't really care for the TV series "Miami Vice" (give me "Magnum P.I" any day). However John Frankenheimer seemed to be on somewhat of a run through the 80s with "The Challenge", "52- Pick-up", "Holcroft Covenant"... ah scrap that one. I guess he wasn't on much a run, but "Dead-Bang" surprised me just how much fun this durable, if offbeat pulp was. Predictable, but bold and ultra-fun law enforcement thriller. This was mainly due to Johnson's hard-nosed performance. Looking bemused and rather scruffy with a very witty script to work with as there were some hilarious lines of banter. The highlight would have to be Johnson's vomit sequence on a suspect after an exhausting chase and the unorthodox methods in getting the job done.

Jerry Beck is one burnt out L.A detective whose personal life is on the skids, so he lives for his job. Looking on a case involving the murder of a convenient store owner and cop, leads to something much bigger when he finds himself tailing a gang of murderous white supremacists to Colorado.

In all; it's dumb, crude, snappy and loud while containing white supremacists using automatic weapons but like a good Frankenheimer feature the violently hard-hitting action was well-staged, well-framed with its camera angles and it moved at a fast clip. The story is taken from Beck's true-life exploits of his novel, where we are taken for one hell of a ride as Frankenheimer really pushes it to the brink. When it came to showing off the film's firepower, it's an outrageous assault and ballsy in its execution.

William Forsythe can be just as amusing playing uptight, than say crazy (watch "Out for Justice" for that) as the FBI agent who gets on the wrong side of Beck. Penelope Ann Miller also seems to walk onto set; sweet talks Johnson and beds him to suddenly disappear. Was I missing something there? Quite an unnecessary sub-plot involving her character. Also making appearances are Bob Balaban, Tate Donovan, Mickey Jones, Brad Sullivan (the exchanges between him and Johnson were a treat "You don't need a gun chief. Just tell them who you are."), Tim Reid, William Taylor and Michael Jeter finding himself at the end of a Woody Allen joke.

"F**k you Sheriff! And your french fries"

This movie plays like a typical good detective novel. Except for the hero every character is totally one dimensional and the well written story doesn't really deliver any big surprises. This being said, this film delivers decent acting, a compelling plot, and polished Hollywood production value. Frankenheimer definitely knows his way around the genre and he gets the most of Don Johnson's much-maligned acting chops by casting him in a role which perfectly suits Johnson's trademark 'maverick' cop character.

There's a specific brand of cop in film and on TV that apparently appeals to audiences. Typically, he's alienated from his family because he's too dedicated to his job and consumes too much of his time doing it and not enough with them. Or debasing brutality has taken too big a chunk out of his consciousness for him to frequent the society of women and children. Generally, he eats three meals of pizza or Chinese and drinks like a fish. The company he keeps does nothing for his lexicon. And the first thing everybody tells him is that he looks terrible. In Dead Bang, Don Johnson plays this classic brand of cop, to a tee.

Has anyone ever made a movie about a good cop who is neurotically orderly? The one perhaps determining stroke contributed by Dead Bang is a scene in which the inebriated investigator heaves onto a suspect. His name is Beck and on Christmas Eve he's designated to probe the murder of another LA cop. He produces the name of a freshly paroled offender apparently affiliated with a disheveled band of white supremacists.

There are a few rows and gunfights, and a Fed overplayed by William Forsythe imposes himself. Also, due to his wreckless ways, which appear somewhat restrained relative to that of most movie cops, Beck is ordered by the chief to obtain permission from a police shrink or be removed from the case. However since Michael Jeter's counselor resembles Woody Allen, Beck breaks up and the doctor grows annoyed and the opportunity of remaining on the case seems remote, that is till Beck has a very unclinical, clear-cut and inhospitable talk with the slightly built fellow.

Near the beginning, there's an unwanted detour in which Beck beds Penelope Ann Miller who, unbeknownst to him, was the wife of the murdered cop. But when he faces her with the information, that's all and she never appears again. From then on out it's all boys, and there is some inexplicably evocative dialogue in which Beck and his contemporaries talk about "going through doors" together. Beck says there's only one thing that counts: Is there anyone who'd be afraid to go through a door with him? And later, his police chief replies, "I want you to know that I'd go through a door with you anytime." Johnson's eyes look aloof, but he's got some presence here, doing the work and really deriving something appealing out of the formula. As the burdensome G-man, Forsythe is the essence of trivial-mindedness. At one point, he looks at a shivering Beck with gravitas and says, "You didn't bring a cold-weather coat? What's wrong with you?" Also, Bob Balaban, as a whipped parole officer, and Tim Reid, as a local police chief, give their roles some punch.

However, what the audience sees, actually, are a couple of white-supremacist psychopaths with a fixation on racial purity and homemade apple tarts. Their main advocates are a handful of dim-witted Hell's Angels sorts who, when they need funds, raid the Mexican bar right next door, kill everyone in it and then are astonished when the authorities appear. John Frankenheimer's control is tight enough but quite mechanical: He sustains the action but doesn't furnish much character. Then again, Robert Foster's script is speckled with crumbs of peculiarity, practically all of them minor. Frankenheimer, the director of three of the most sharply honed and deeply affecting conspiracy movies ever made, is also responsible for some of the more negligible.

14. DEAD BANG (action, 1989) Det. Beck (Don Johnson) is an LA cop whose life is falling to pieces. His wife has just left and his hitting the bottle again. Assigned to a cop killing that seems routine, Beck sees his chance at redemption by immersing himself in the case. The murder has ties to a ruthless and tightly controlled Neo-Nazi sect. He starts a cross-country chase that inevitably leads him to rural America. With the help of an FBI agent, Beck is intent on exposing a network of ruthless criminals.

Critique: "An exercise in futility", that's how one critic summed up Don Johnson's acting. With a squeaky voice, boyish looks, and sparse acting (plus an endless array of 'cool' wardrobes), he became something of a cult favorite playing Det. Stubbs in the hit TV-show Miami Vice (1984-89). Since the end of that show, his movie career has been a total loss. . .well, almost.

At least he can look back proudly on his work in John Frankenheimer's 'Dead Bang': A slick, old style, slam-bang action film. Taking his Stubbs character to new heights (or lows for that matter) he plays the consummate 'burn-out cop'. He has been given a solid script to work from, professional direction by old-hand Frankenheimer, and a good supporting cast including John Forsythe as his FBI partner.

Supposedly based on the real life experiences of LA Det. Jerry Beck, this is Johnson's only film where he proved to be more than "an exercise in futility".

QUOTE: "I got a splitting' headache, I'm seeing double and. . .s#!t! I think I'm gonna throw up again."