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I am a really big fan of Judd Nelson and he ruled in this movie. He's so good at being the bad guy. Judd plays Buck Taylor, a demented serial killer who picks his victims from a phone book and calls them before he enters their house and kills them. And the victims' names resemble his. And he tears the pages out with the victims' names underlined in red with messages like "catch me if you can" that he leaves on the dead bodies for the police. Buck does these horrid things because his father was abusive and he kills to show his dad that he's good at something. I really enjoyed this movie and it showed how good of an actor Judd is. Great film!

A demented serial killer is wrecking havoc on the streets of L.A. It's up to a rookie and a veteran cop to stop him.

Sound familiar? You bet. Yet this film seems to creep up above most other films of the similar genre, thanks in most parts to an unusually effective performance from Judd Nelson. Most of the times I don't particularly like him, but here he fits the bill perfectly.

The supporting performances are also quite good. Robert Loggia plays it straight as the veteran cop and Leo Rossi has never been as appealing as here. Director William Lustic creates a reasonable amount of suspense and keeps things moving at an adequate pace. But mostly, this film will be remembered (by me anyway) as the best Judd Nelson film, and his best performance. He plays a psychopath to a tee.

What at first seems like yet another bleak cop drama/vigilante thriller from William ("earth tones and unappealing locations ONLY, please!") Lustig gradually turns into a fine little sleeper. "Relentless" is robotically assembled in certain aspects (killer strikes; cops consult; quality time with wife and kid (repeat), but the sharp script (by Phil Alden Robinson under a pseudonym), excellent performances, and steady pace help redeem the more trite elements. Leo Rossi and Robert Loggia are two cops assigned to a rash of murders committed by Judd Nelson, the son of a deranged 'hero' cop (played in flashback by Beau Starr), who has just been rejected from the Police Academy on--you guessed it--psychological grounds. There is a definite snap to the banter shared between Rossi and Loggia (the rookie and the jaded veteran), and certain touches, like the high-strung police captain, lend much to the film's intentional humor; the scenes with Rossi and his wife and son are well-handled; and the killer's contrast is appropriately oppressive (Nelson's performance is more about body language and facial expressions than dialog). Lustig once again tries to ape William Friedkin's tough-guy, action-oriented style (Rossi even gets a chance to race against traffic in the third act), and the result is quite successful--"Relentless" is seriously worth a look.

Young Buck (character actor Judd Nelson) is depraved, demented, and mentally disturbed. Rejected from the Los Angeles Police Department on psychological grounds, this young lad has seemingly transformed from a once benign albeit afraid soul, to a psychotic serial killer. Now, Buck goes on an inevitable killing rampage as he picks his victims' names at random from a telephone directory. He calls and informs his victims ahead of time of their demises to-be before he enters their residencies and coerces the victims to participate in their own grisly deaths.

Enter Sam Dietz (Leo Rossi), a tough New York City police detective who's quickly being transferred to the L.A.P.D. Soon enough, Dietz has been assigned to track down this notorious serial killer. Dietz is to work with

his partner, Det. Bill Malloy (veteran actor Robert Loggia), who shows a lot less alacrity and more apathy than his younger counterpart, Det. Dietz. Eventually, as the body count rises, Buck has been dubbed the "Sunset Killer."

RELENTLESS is a tantalizing yet insipid thriller. There are tons of slow moving scenes in this movie, and the film doesn't offer any kind of novelty from the rest of the serial killer movies. Yes, there are profound moments in this movie. For example, the audiences plunge into the mind of Buck, seeing his past life in flashbacks as an abused child who had to partake in rigorous "boot camp" type activities, setup by his own strict father. In fact, Buck is so mentally insane that he often sees images of his late father in the mirror, telling him what to do. Judd Nelson deserves some approbation for tackling the difficult role of a mentally scarred serial mass murderer.

Another aspect of RELENTLESS that made the film slightly worthwhile to watch was the relationship between the two police detectives out to catch Buck, a.k.a. "The Sunset Killer." We see two different worlds conflict with each other as New York native Det. Dietz demonstrates a "let me at him" attitude, with plenty of intensity and anxiousness. On the other hand, Det. Malloy, who's a Los Angeles native feels that Det. Dietz is taking this case way too seriously. Malloy is more laid back, figuring that the press will blow over and the Sunset Killer will eventually disappear. The chemistry between the two police detectives is interesting, with the younger one, Dietz showing more enthusiasm and energy for catching this psycho. Meanwhile his older, more sardonic partner Det. Malloy doesn't want to pull any punches or put too much effort into solving this case. He also thought that many of what Dietz's statements were given were foolish. Malloy is admittedly lazy, letting other people do all the work for him.

RELENTLESS is not a one-of-a-kind thriller. It descends into cliche territory throughout most of this film, especially by the finale. This is not a very exciting movie with no true memorable moments. RELENTLESS is also relentlessly (no pun intended) boring at times, and it may not appeal to many moviegoers unless they have an interest in criminal psychology. Still, RELENTLESS was a satisfactory, though not a terrific effort from director William Lustig (MANIAC, MANIAC COP 2, UNCLE SAM). Although the performances throughout this film were well illustrated and persuasive, they were uninspired. Watching the two detectives argue with each other was fun, and Nelson did his best at portraying a serial killer.

RELENTLESS opened to brisk business at the box office, and it was understandable, due to this film's limited audience appeal. Next time, a thriller movie needs to offer a whole new horizon in order to grab viewers' attention.

RATING: ** out of ****.

This crime story has some scary scenes, with an especially memorable one early on with a woman hiding in a clothes dryer. In fact, the first half of this is excellent but it peters out that point with two typical Hollywood clichés of crime movies of the period.

They are: 1 - the good cop (Leo Rossi as "Sam Dietz") going it alone despite the orders of his superior; 2 - the killer going to the good cop's house to kill his family. Too bad it stooped to these obvious story lines because this could have been an outstanding serial-killer movie. As it is, it would up being slightly better- than-average. By the way, what's with Meg Foster's eyes? It looks like they have no pupils. It's eerie to look at that woman's face.

This movie spawned several sequels and the sequels were better and better as they went along.