Friedkin returns to the streets with ‘To Live and Die in L.A.’

TO LIVE AND DIE IN L.A. (1985)

By TERRY R. CASSREINO

By winning the Oscar for “The French Connection” in 1971 and following it two years later with “The Exorcist,” William Friedkin made a name for himself as one of the best, most successful young film directors of his time.

Then came a string of misses. A long string of misses. In fact, Friedkin’s spotty career has produced a host of disasters that include the killer tree film “The Guardian” and a so-so cable television remake of “12 Angry Men.”

Friedkin recently finished his first film in five years, “Killer Joe,” set for release later this year; the film is about a man in debt who decides to kill his mother for the insurance. With a cast that includes Matthew McConaughey and Emile Hirsh, Friedkin hopefully will regain his voice.

Until then, you have go back almost 26 years to find the last great film Friedkin directed. “To Live and Die in L.A.” hit movie screens in November 1985 – the first Friedkin crime drama since “The French Connection.” While the action this time is on the West Coast, “To Live and Die in L.A.” is just as riveting and exciting.

Original ‘Taking of Pelham One Two Three’ tops insipid remake

THE TAKING OF PELHAM
ONE TWO THREE (1974)

By TERRY R. CASSREINO

From the thumping, repetitive bass line of the main title theme to the gritty New York City atmosphere, “The Taking of Pelham One Two Three” remains one of the screen’s most successful crime thrillers.

Of course, I’m referring to the 1974 original film – not the pointless 2009 remake featuring Denzel Washington and John Travolta, an unsuccessful and totally unnecessary exercise.

“The Taking of Pelham One Two Three,” based on the book of the same name by John Godey, tells the gripping story of a group of heavily armed men who hijack a New York City subway and hold its passengers for ransom.

Meanwhile, Lt. Zachary Garber of the New York City Transit Authority leads efforts above ground to negotiate with the terrorists, secure the $1 million ransom and rescue the passengers. The back-and-forth play, above and below ground, heightens the film’s tense suspense.