To Live and Die in L.A.


Action / Crime / Drama / Thriller

Rotten Tomatoes Critics - Certified Fresh 93%
Rotten Tomatoes Audience - Upright 79%
IMDb Rating 7.3 10 23677


Uploaded By: LINUS
Downloaded 33,066 times
March 10, 2016 at 01:55 AM


Willem Dafoe as Eric Masters
Darlanne Fluegel as Ruth Lanier
Dean Stockwell as Bob Grimes
John Turturro as Carl Cody
720p 1080p
843.26 MB
23.976 fps
1hr 56 min
P/S 2 / 9
1.75 GB
23.976 fps
1hr 56 min
P/S 1 / 7

Movie Reviews

Reviewed by ThingyBlahBlah3 9 / 10

Raw, brilliant crime thriller

David Mamet once explained the difference between art and entertainment. Entertainment, he said, reinforces what you already know, and tells you that you're right. Art, on the other hand, suggests that what you know is wrong, and that your beliefs might not be correct.

In "To Live and Die in L.A.", director William Friedkin inverts, twists, and eventually demolishes the standard "Cop seeks vengeance for his partner's murder (with 3 days til retirement!)" formula. The viewer learns that 1) not every law enforcement agent always has the public good in mind, 2) real people generally aren't either 'good' or 'evil' all the time, 3) if a cop (or in this case, Secret Service agent) takes the law into his own hands, he WILL pay for it one way or another, and 4) whether you're a cop or a criminal, things usually don't go according to plan.

This information is directly opposed to what we've learned from countless action movies of the 1980s. Watching the "Lethal Weapon" movies, or anything with Schwarznegger, Stallone or Seagal, suggests that it's fun and entertaining when cops take the law into their own hands. Notice that no matter how much damage Riggs & Murtaugh cause, they can laugh about it with the captain later, and the world is always a better place for it. And no matter how many people's civil rights are trampled, and no matter how illegal the cops' activities are, everything always works out in the end, and the only people who get hurt are the "bad" people.

"To Live and Die in L.A." shows what would happen if Riggs & Murtaugh tried their antics in the real world. While Martin Riggs' arrogant recklessness is heroic and hilarious, Richard Chance's arrogant recklessness ruins a lot of lives, not least his own. When it's over, justice has hardly been served, and even though the bad guys are dead, there's no hint that L.A. is a better place for it.

With all these "Lethal Weapon" comparisons, I should make it clear that "To Live and Die in L.A." came out in 1985, two years before the first LW movie.

All that stuff aside, this is one rock-solid movie. Willem Dafoe uses his character's eccentricities to create (for my money) one of the best villains in cinematic history, even if the movie doesn't see Rick Masters quite that way. William Peterson is incredible and brings a lot of depth to his performance; I'm not one to critique someone else's opinion, but I don't understand the users who complained that he's "wooden." Chance is an egomaniacal, scheming nutjob with a death wish; he really believes that he's above life and death, and it never crosses his mind that he might be wrong. Peterson brings this all out.

Dean Stockwell is in his element, playing a scumbag who knows everything about everyone. John Pankow was a wonderful surprise, bringing all sorts of conflicting and confused ideas to Vukovich, which is perfectly appropriate. When things really go wrong, he goes to pieces. Again, some users complained that he was overacting, but ask yourself how YOU'D behave. Nobody ever gives Darlanne Fleugel much credit, but she's terrific here. There's a whole lot going on in Ruth's head, and in many ways, she's the central character to this whole play. Pay attention. And I'd be remiss in my duties if I didn't point out Steve James and Jack Hoar as two of Masters' criminal associates. They're both tough, intimidating, and surprisingly multi-dimensional.

And I haven't even mentioned 1) the car chase to end all car chases, 2) the copious amount of nudity, 3) the perfect fit of Wang Chung's soundtrack with the day-glo L.A. look, even as all hell breaks loose and men confront the dark depths of their souls (huh?), and 4) a climactic shock that WILL knock you for a loop.

Reviewed by Claudio Carvalho 8 / 10

Excellent Non-Stop Action And Politically Incorrect Police Story

In Los Angeles, the secret agent Richard Chance (William L. Petersen) loses his partner and friend Jim Hart (Michael Greene) in an investigation of counterfeit, two days before the retirement of Jim. The agent John Vukovich (John Pankow) is assigned to work with Chance, who is obsessed to capture Eric 'Rick' Masters (Willem Dafoe), the criminal responsible for the death of Jim. Chance risks his partner and his own career, trying to arrest Rick.

"To Live and Die in L.A" is an excellent non-stop action movie, having an excellent pacing and being a politically incorrect police story. All the characters are amoral, dirty and sordid, and it is impossible to feel sympathy for any of them. There are excellent scenes, such as the car chase in the streets of Los Angeles, or the surprising lethal shooting in the end of the story. The DVD shows a commercial alternative ending of the story, fortunately not accepted by the director William Friedkin. The unpredictable and credible end as it is makes the great difference of this outstanding movie. My vote is eight.

Title (Brazil): "Viver e Morrer em Los Angeles" ("To Live and Die in Los Angeles")

Reviewed by mmasv 8 / 10

Excellent pacing and effective marriage of action and music

Worthy of the director of "French Connection," the pace of this set- in-LA action thriller immediately draws the view in and never lets up. A car chase in the best traditions of "Bullitt" and of Friedkin's own "French Connection" is centers the action, but the motivation of a rogue agent obsessed with the death of his partner, and clearly with his own death, are well- and credibly- drawn. The most sympathetic character in the story is not one of the principals. It is a female informer. An ex-con at the mercy of those on both sides of the law, she is callously exploited by all. Her feelings for Agent Chance are more implied than explicit, but they are believable as is his indifference to her as a person. This riveting film never lets your attention wander. Thanks to Friedkin, we are told, we are given a credible ending to this taut, tightly- wound thriller. An under-exposed, under-appreciated work; excellent for the genre.

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