Didn’t Your Mother Ever Tell You Not To Talk To Strangers And Not To Cops Either, Not “Projects’ Boys” And That Is No Lie-With Cop Buddies Michael J. Fox And James Woods’ “The Hard Way” (1991) In Mind

Didn’t Your Mother Ever Tell You Not To Talk To Strangers And Not To Cops Either, Not “Projects’ Boys” And That Is No Lie-With Cop Buddies Michael J. Fox And James Woods’ “The Hard Way” (1991) In Mind

DVD Review

By Bradley Fox, Jr. (no relation to the actor listed here but a relation to former and now retired American Film Gazette writer and editor Bradley Fox, Sr.)

 

The Hard Way, starring Michael Keaton, James Woods, 1991

[The reader may have not seen the name Bradley Fox, Jr. on a by-line at this publication for some time now. For a very good reason. A couple of years back when I was starting out at this publication as a stringer, I locked horns with the previous site manager Allan Jackson, who has recently returned as a contributing editor which is okay as long as he is not my boss. The reason, reasons really but the main one was his insistence that every writer delve deeply into the 1960s counterculture, general 1960s culture for that matter since a number of 50^th anniversary commemorations were coming up and Allan wanted blanket coverage. Even from younger writers who didn’t have a clue about the 1960s, could have cared less about that ancient history or had to reach out to parents or in my case grandparents to get a feel for the times. Not good, not good at all.

Greg Green, who Allan had brought over from American Film Gazette to run the day to day operations while he did the big strategic planning and gave out the assignments, knowing how unhappy I was, knowing I would be forever a stringer as long as Allan ran the show, ran it his way “or the highway” as some wag put the matter, got me a job over at Film Today. In late 2017 when all hell broke loose, and Allan was canned I thought about coming back. Problem was I had a two-year non-competition clause in my contract to not write for some other publication which meant that I had to wait it out. And I did. Once the contract restriction expired Greg called me up and asked me back. This is my first assignment back although not my first run at this film since I reviewed it at Film Today as well. Greg wanted me to revise that effort to fit in better with his idea that this kind of film did not need the three-thousand-word gloss that I had put on it. The revised and shortened piece is below minus the extended analysis of the place of “buddy movies,” male buddy movies until recently and now gal buddies as well in Hollywood film history. Brad Fox, Jr.]

      

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Sam Lowell, the now sort of retired film editor at this publication who still contributes a few pieces and who right now is working on a continuing project about why certain once well-known private investigators, specifically Lew Archer from out in California who wound up peeping through keyholes, never made it to the P.I. Hall of Fame despite some real promise starting out, once told my father when they both were working at American Film Review I think a few good tips about film reviewing. About film reviewing when you are totally without a clue about how to proceed with a review which is in many ways a piece of fluff like The Hard Way but which you must say something about if for no other reason than to keep the wolves from your door (and avoid taking hand-outs, cash outlays, from fathers and mothers as the case may be). Without a “hook” you might as well stay home and have a drink to drown your sorrows. Here are the three life-savers  in ascending order-“slice of life” for the time period especially if the theme has been totally superseded by newer social conventions; feature the “buddy” aspect; and, play up the “boy meets girl (or visa versa)” theme which has saved more Hollywood and now world-wide films than it would seem possible to do given some of the lame plotlines.

Today we do the middle life-line (which I used in a feverish pitch when I first reviewed this film at my previous job at Film Today loading up the piece with the history of “buddy movies” in Hollywood since on re-viewing the film for this piece I came up with the same problem as there. A piece of fluff. The difference was that the editor there was looking for “high culture” aspects hence the three-thousand-word minimum requirement. As well as a stringer I was being paid by the word at one of the last publications to use that relic of indentured servitude method of payment for stringers). As usual with buddy films there has to be some conflict of interest that gets resolved and lets them go off hand and hand into the sunset having bonded for eternity, or until the sequel if any. John Moss, James Woods’ character is a hard-nosed, no non-sense and basically politically incorrect public detective, a New York detective who has a major problem on his hands. A major crime problem which is that some new version of American psycho is running around dance halls, barrooms, frat houses, maybe even public restrooms off-handedly shooting people for kicks or some mysterious reason known only to him, as usual. Our Man Moss is bound and determined to bring this cretin to justice-by any means necessary.                 

           

Naturally the case in widely publicized as are Moss’ relentlessly baiting remarks about that psycho. Meanwhile Nick Lang played by Michael J. Fox as a movie star out in Hollywood is in a funk. You might remember Nick from back a couple of decades ago when everybody was touting him as the next Errol Flynn, on film not in personal life, an action movie guy bringing in big studio grosses for little dough but apparently only spending about six dollars on script-writers. Nick was having a mid-career crisis like a lot of people when he came up with either a brilliant idea, or one of pure genius. He would hook up with this John Moss and learn what it was like to be a real action guy, a real cop. Pulling a few thousand strings, or maybe the studio doing so he is in.

Of course our serious cop John is outraged that some punk movie star who has the liberty to endlessly shoot fantasy bang-bang scenes is going to play copper, play out in the mean streets of New York while this psycho is running amok. Nick, as expected made every mistake in the book, maybe more in real cop line of duty. Which only infuriated Moss more. Meanwhile the psycho is pulling their chains, has them looking in all the wrong places. Along the way, as expected as well, John lightens up a little on Nick although he is still desperate to get him out of town. (Probably the best scene in the whole film was when trigger-happy Nick “shoots” an innocent by-stander while they are on the trail of Mister Psycho. It turns out this was a scam way that Moss tried to get Nick out of town by setting up the scene with fellow coppers-sorry for the egg all over your face Nick.) In the end Nick will redeem himself by taking a few stray bullets as they go in for the kill after psycho kidnaps Moss’ estranged girlfriend out in Time Square and there is final action on a 3-D billboard touting some film Nick had made. The psycho goes down and is chalked up as no great lose. Yeah, thinking about it again I am glad Greg gave the okay to make this dopey film a subject for short review. I don’t believe even with padding I squeezed well over three-thousand words out of this mildly funny film.