Hudson Hawk



Silver Pictures/Tri-Star Pictures

Directed by Michael Lehmann

Produced by Joel Silver

Screenplay by Steven E. de Souza/Daniel Walters

Story by Bruce Willis/Robert Kraft

There are those that will insist that HUDSON HAWK is a failure, a flop and a misguided project doomed from the outset to failure. I strongly disagree. It is a movie that along with “Big Trouble In Little China” “The Last Dragon” “The Assassination Bureau” “Sunset” “The Man With The Iron Fists” “Action Jackson” “Shoot ‘Em Up” “The Adventures of Buckaroo Banzai” “Remo Williams: The Adventure Begins” and “The Life Aquatic With Steve Zissou” is a movie that nobody knew what to make of it because they couldn’t figure out what genre it was. Was it a caper movie? Yes. Was it a spy thriller? Yes. Was it a comedy? Yes. Was it action-adventure? Yes. Yes. Yes. Yes. Whatever you want to throw in. HUDSON HAWK was all of those and more because like those other movies I named and much more besides it defined being put in a genre because the story took whatever it needed from whatever genre it wanted to, mixed in wonderful characters and then it hit the ground running at top speed and never stopped until the end credits. Long before the term was coined and before I even knew what it was, when I saw HUDSON HAWK in the theater back in 1991 I knew I was watching a New Pulp movie.


Eddie Hawkins aka The Hudson Hawk (Bruce Willis) is the world’s greatest cat burglar. That’s why on his first day out of prison after doing a dime, he’s blackmailed by his parole office and the Mario Brothers (not the ones you’re thinking of. These guys run a Mafia family). Along with his partner Tommy “Five-Tone” Messina (Danny Aiello) he pulls off the theft of the last commissioned work done by none other than Leonardo DaVinci, their individual tasks synchronized to the both of them singing “Swinging On A Star” at the exact same time. Yes, yes, I know how it sounds but if you’ve seen the movie I’m willing to bet that you’re grinning right now. Because the scene is impractical, silly, goofy and yet, you’re singing right along with Eddie and Tommy. Me, I admire a movie for having the audacity to even pull off such a notion. And what the hell, it’s downright FUN to watch.


What gets Eddie interested in what is going on is that when he turns over the item he’s stolen to the Mario Brothers and their employer Alfred (Donald Burton) there’s an object inside which is desired by Alfred’s employers: Darwin and Minerva Mayweather (Richard E. Gant and Sandra Bernhard) who in a masterful comic performance always keep us an audience off guard as to what the hell these two whackos are going to do next. The object is also desired by CIA Director George Kaplan (James Coburn) and his ‘MTVIA’ Agents, all of whom are named after candy bars: Almond Joy (Lorraine Toussaint) Kit Kat (David Caruso) Snickers (Don Harvey) and Butterfinger (Andrew Bryniarsky) as well as by Anna Baragli (Andie MacDowell) who is a top operative for the Vatican’s own counter-espionage agency. Eddie is astounded to discover that the object was fabricated by none other than Leonardo DaVinci (Stefano Molinari who gets the best visual gag in the movie which also involves The Mona Lisa)


The Mayweathers need Eddie to steal various DaVinci relics that will place in their possession the components of La Macchina dell’Oro. The last and greatest of DaVinci’s inventions. One that can turn lead into gold. The Mayweathers were supposed to be working with The Vatican and The CIA in this but oh those crazy kids decided to just go rogue and grab everything for themselves as they intend to use the power of La Macchina dell’Oro to control the world gold market. Hilarity ensues. As well as a lot of action and for me, at least, a fun movie.

My own personal theory as to why this movie wasn’t the hit it deserved to be back in 1991was that the year before, “Die Hard 2” completely blew all expectations to smithereens and made more money than the original. So people most likely went to the theater looking for something similar and simply didn’t know what to make of this goofy, pulp-inspired adventure. Moviegoers wanted to see more of John McClane or a character like him and just couldn’t get into this more laid back, less intense Bruce Willis who actually goes through most of the movie smiling and looking as if he’s having a great time.


And for me, that’s one of the major pluses of HUDSON HAWK: everybody looks as if their having nothing but fun making this movie. David Caruso in particular stands out for me as he steals every scene he’s in without saying a word. Kit Kat communicates solely with business cards and by his wardrobe/costume in whatever scene he’s in. The chemistry between Willis and Aiello feels real and I could easily have seem them continue to play Eddie and Tommy in a Crosby/Hope style in future films. I love that is not only James Coburn in this movie but that sound effects and phone ringtones from his Derek Flint movies are used as well. “Bunny! Ball Ball!” The lush sets and gorgeous locations.


Understand me, my intention is not to change your mind about HUDSON HAWK or indeed, any movie I review. It’s just for me to give you my insight as to why I like and/or love a particular movie and maybe intrigue and/or interest you enough to maybe want to see it for the first time or revisit it. HUDSON HAWK is one of those movies that everybody seems to either love or hate. You can put me firmly on the side of those who love it.

100 Minutes

Rated R

China Girl



Vestron Pictures

Directed by Abel Ferrara

Produced by Michael Nozik

Written by Nicholas St. John

Here’s a bit of advice for all you aspiring directors: if you’re going to have scenes in your movies where the main characters dance it’s a good idea to make sure that they do indeed know how to dance. I bring this up for two reasons.

One: there’s two scenes in CHINA GIRL where our protagonists, the teenage lovers Tony (Richard Panebianco) and Tye (Sari Chang) fall in love while dancing and their absolutely horrible dance moves look more like they’re having grand mal seizures than anything else. Especially during the scene where they’re dancing to Run DMC/Aerosmith’s “Walk This Way.” That scene should be edited out of the movie as it’s flat out embarrassing to watch the two actors flailing away and stumbling around without even close to being in time with the beat.


Two: that’s the only complaint you’ll get from me about CHINA GIRL which in a lot of ways is my favorite of Abel Ferrara’s terrific films. Considering this is the director who gave us the magnificent “King of New York” and the utterly brilliant “Bad Lieutenant” that’s quite a statement, I know. But I have fond memories of seeing CHINA GIRL on 42end Street back in the 1980’s and when I learned it was on Netflix streaming I simply had to watch it again to see if it was as good as I remembered. I’m happy to say it was.

CHINA GIRL is basically a modern retelling of “Romeo And Juliet” with a heaping helping of “West Side Story” thrown in there for flavor. Tony is from Little Italy and Tye lives in Chinatown. Both of them have older siblings with connections to the organized crime groups of their respective nationalities. Tony’s brother Alby (James Russo) owns and runs a pizzeria but he has ties to the neighborhood Mafia boss Enrico Perito (Robert Miano) and has his own gang of small-time hoods. Tye’s brother Yung Gan (Russell Wong) is an up-and-comer in a Tong led by Gung Tu (James Hong) being groomed to move up higher in the organization.

The romance between Tony and Tye stirs up conflict between the two groups of young gangsters and leads to open warfare. Added to this is the activities of Yung’s cousin and second-in-command Tsu Shin (Joey Chin) Tsu is extorting money from Chinese restaurant owners located in Little Italy. This is a total violation of the agreement between the Mafia and the Tong to not encroach on each other’s territory. Tony and Tye are warned to stay away from each other but if they did that then we wouldn’t have much of a movie, would we? As the lovers make plans to have a future and life together, the fighting between Yung’s gang and Alby’s gang escalates to such a degree that Perito and Gung Tu join forces to put a stop to it. As Gung Tu puts it: “We must never allow ourselves to be divided by war… or to be interfered with by police investigations… all because a few reckless children cannot live within our tradition of our society. Our responsibility is to control our children.” And control them they do with hideously bloody disciplinary methods.


And that’s the thing about CHINA GIRL; the two leads are sweet and likable but their romance isn’t as compelling or as interesting as the war between the Mafia and Tong gangs, the relationship between Yung and Tsu and the efforts of the big bosses to control the young hotheads who are trying to carve out a bigger piece of the criminal pie for themselves.

It also doesn’t help that all the acting powerhouses are the supporting characters who effortlessly hold our attention anytime they’re on screen. James Russo, Russell Wong, David Caruso, Robert Miano and James Hong are all solid, dependable professionals. And for me, among all these terrific actors and performances, Russell Wong walks away with the acting honors in this one. He has a great scene with absolutely no dialog where he strolls around his sister’s room, looking at all the posters of white actors and pop stars on her walls and examining the evidence on her desk of how completely she’s assimilated American culture and he says more with his body language and facial expressions than he could have with five pages of dialog. There’s another great scene he has with Joey Chin as they discuss the situation they’re in and it’s got real heart and emotion.

What else? The terrific location shooting in New York’s Little Italy and Chinatown which gives the movie such an authentic look and feel. At times CHINA GIRL looks and feels like a Martin Scorsese movie, that’s how solid the Little Italy scenes are. David Caruso’s supporting role as Alby’s psychotically racist sidekick.

So should you see CHINA GIRL? Absolutely. The energy of the acting from the marvelous supporting cast alone makes this a Must See as far as I’m concerned. Abel Ferrara is an outstanding director who knows how to tell a story with no wasted scenes or unnecessary padding. CHINA GIRL wasn’t a hit when in played in theaters back in 1987 and it didn’t find a home on any cable station like HBO or Showtime where many other movies of the 80’s found new life and were rescued from obscurity. But now that it’s available, don’t let this one get by you. If you have Netflix streaming, set aside time for CHINA GIRL. You won’t be disappointed.

89 Minutes

Rated R: And be warned that this is a movie made before Political Correctness so the racial slurs get thrown around freely. If you’re offended by that, then I suggest you give CHINA GIRL a pass.