However, it should be pointed out Nighthawks takes the concept of guerrilla activity and badly bungles its modus operandi. Wulfgar keeps DaSilva and Fox at bay by taking an elderly woman Zoya Leporska hostage. There is also a sprinkling of white flecks from time to time. This highly underrated and forgotten film in the Sylvester Stallone canon makes its way to Blu-ray in the states on October 18th. A movie that should be seen again and respected for what it is; gritty, hard-edged, exceptionally photographed, and, on occasion, expertly played.
As the tram is brought back into its docking station, Wulfgar and Shakka surround themselves with terrified hostages tied together, creating a human shield between them and the A. DaSilva and Fox prepare for a raid. The transfer has been struck from a dated master in Universal's vault. What is it about 1981? Universal deemed the screenplay too topical and hot for contemporary audiences and brought in David Shaber The Warriors for a rewrite. Meanwhile, Wulfgar wastes no time bombing one of the buildings on Wall Street after hours, once again taking credit for the assault. Factory snuck this one into the October release slate.
Nighthawks is a good — if not a great — actioner: a genuine pity because the picture definitely has potential. Directors: , Writers: , Starring: , , , , , Producers: , » Nighthawks Blu-ray Review Reviewed by , January 20, 2017 The production of Nighthawks offers an illustrative example of how a movie's stars, screenwriters, and directors vie for creative control of a project and send it spinning in different directions. As a Stallone enthusiast, Nighthawks goes as probably his most underrated film. At first, DaSilva doesn't agree with Hartman's methods, and they both clash with each other since Hartman believes that American police officers aren't ruthless and vicious enough to deal with a terrorist such as Wulfgar. Still, the film is a decent thriller, with enough tension to keep the plot moving along, and enough decent acting to keep it from sinking into the mire of B-movie filmmaking, where it very well may have originated.
It seems that a ruthless terrorist, known only as Wolfgar Rutger Hauer , has made it into the United States, and DiSilva and Fox have been assigned to the special task force to track him down. He holds a Masters in Communications and an Honors B. The film features a terrific video transfer and a solid audio track. The sound, presented in Dolby Surround is nothing spectacular. Other performers are a treat to watch as well. He brings such a nice, cold, and calculating sophistication to this international terrorist who is a firm believer in what he's doing, and what makes Wulfgar more immensely dangerous is that he's not just a random hired gun who does it for money, but he believes in the causes that he's fighting for.
Sound: If you're looking or is it listening? DaSilva then proceeds to fire two huge gunshots at a lunging Wulfgar thus sending him crashing into the street as he dies. Only one scene remained and he swears that his original script was a much better movie. Stephen Larson on January 20, 2017 where this Blu-ray release scored 3. . Dirt and specs are very minimal.
He is a sociopath and a monster of almost superhuman cunning. Too bad, Wagner says on the Blu ray special features, Stallone gave some of his best acting he had ever done in those scenes. If you had asked me which one do I prefer, if you want the movie intact with no worries, find the Goodtimes version for there is not much change. Because DaSilva and Fox mostly have experience with street crimes, their military background is the main reason they were chosen. Factory Disc: Region: 'A' as verified by the Runtime: 1:39:14. Nighthawks 1981 , one of the films from this uncertain time in the Italian Stallion's career, may not be the best work he's ever done, but considering the overwhelming crap he's appeared in over the years, it ranks in the upper tier of Stallone's pantheon.
Both tracks have been reinstated on this Blu-ray release; albeit, folded into the mono Foley, remastered as 2. Sylvester Stallone and Rutger Hauer star in this riveting story of suspense and intrigue that starts in London, continues in Paris and reaches its chilling conclusion on the streets of New York. DaSilva makes his call; Wulfgar responding by opening fire and wounding several bystanders before making a break down the back way and into the darkened alley far below. Nighthawks could use a new remastered digital intermediate but Shout Select's transfer appears pretty good. No crushing was witnessed during the viewing for this review. Nighthawks has elements that is quintessential for the time and features a Stallone performance that I doubt anyone would remember while Rutger Hauer basically stole the show in spite of Stallone cutting down that role and beefing his up during the edit process.
Fans of Nighthawks — and there are some out there — should be happy enough that the film has gotten a measure of respect. We meet Inspector Peter Hartman. The legend features a huge mane of hair to go with a beard and huge tinted glasses and a brown leather jacket. There, the duo find Wulfgar, and after an intense staredown between DaSilva and Wulfgar, a brief shootout soon followed by a lengthy foot chase ensues through the streets and subway tunnels in which of course Wulfgar later escapes by slashing Fox's face with a knife, and an enraged DaSilva vows to kills the terrorist afterwards. One night, one of his associates comes to see him unaware that cops are on his tail and looking to finally nail him, but the associate is shot as well as three of the cops.
Never mind the subzero temperatures of a New York winter would have all but ensured his freezing to death in these icy waters or, at the very least, caused Wulfgar to succumb to hypothermia. Granted, the scenes between DaSilva and head instructor Peter Hartman Nigel Davenport establish the anti-authoritarian characters Stallone would go on to play throughout the decade. He slithers down the hall and around the corner wall leading to the kitchen, never losing sight of Irene, her back presumably to him as she obtusely prepares a midnight snack for herself. The label presents the film in its original theatrical aspect ratio of 1. Sly and Billy Dee Williams make a good team and show a cop chemistry that many films like this lack. It is an affront to a way of life rather than directly targeted at specific individuals.