I thoroughly enjoyed this film which exceeded my expectations from the reviews I had read. It is not overly violent for its 18 rating. The acting and characterisation are good and the soundtrack is terrific in a 1980s way. There are some absorbing scenes with Dafoe doing the counterfeiting and a top notch car chase towards the end. William Petersen as the lead is impressively gritty. There is also some tongue in cheek humour with for example a running chase in which the crook asks the cop why he is chasing him and the cop replies “because you are running away!’ The ending is a satisfying finale.
To Live and Die in L.A. is a sharp, cynical thriller where no one comes out clean. Friedkin ditches sentiment for style, pairing striking visuals with a pulsing Tangerine Dream soundtrack. The plot moves fast, driven by moral ambiguity and a sense that corruption spreads like wildfire. The car chase is a standout—almost as gripping as The French Connection—and the decision to kill off the lead mid-film is bold and unsentimental. As a bridge between classic noir and modern thrillers, it’s tense, stylish, and oddly prescient. In this world, survival means faking it better than everyone else.
Director William Friedkin's forgotten masterpiece. His fall from grace after the breathtaking originality of The French Connection (1971) and The Exorcist (1973) was due, possibly, to his over inflated ego, but this hi-octane cop thriller is one of the best in the buddy cop genre. Whereas many films in this category add great dollops of comedy Friedkin effectively deconstructs the buddy cop narrative to create an intricate, gritty and at times enigmatic film that boasts a fantastic seven minute car chase that arguably out 'chases' the one in The French Connection. Influenced heavily by the style of the TV series Miami Vice this is a story of US Secret Service agents investigation into counterfeiting. When his partner is murdered Agent Richard Chance (William Petersen) vows to get the man behind the killing, arch counterfeiter Rick Masters (Willem Dafoe). With a new partner in tow Chance pushes the boundaries of right and wrong when he plans to rob a crooked diamond merchant in order to fund an undercover operation to catch Masters. The violence here comes suddenly and shockingly and the plot has some very big surprises. With the adrenaline filled car chase and a film that twists loyalties and plays with sexuality this is one of the finest crime thrillers of modern times and certainly of the 1980s. Fast paced, exciting and gutsy this is highly recommended if you've never seen it.