A terrorist holds New York in a grip of fear - and only Stallone can take him on.
An international terrorist has New York in a grip of panic and it's up to Det. Sgt. Deke DaSilva to take him down.
An international terrorist has New York in a grip of panic and it's up to Det. Sgt. Deke DaSilva to take him down.
Les faucons de la nuit
Radical-extreme-mad-bomber terrorist, plays a deadly game of cat-and-mouse, with Rocky Balboa and Lando Calrissian.
Ever catch a version of a movie that's edited for content, or missing the original soundtrack? You must be careful in today's click-and-watch era, you never know what you might be missing. With Nighthawks, there's a fucktastic scene in a Studio 54-esque nightclub. Sly Stallone and Billy Dee Williams are searching for Rutger Hauer. We hear Brown Sugar by the Rolling Stones. We instantly feel like we're actually in the club. Then, we have the man-to-man stare down, between Sly and Rutger. We hear the intoxicating I'm a Man, sung so gracefully by Keith Emerson. It's the highlight of Nighthawks. But, did you know these 2…
"And Rutger Hauer as WULFGAR"
I’m not sure why this one remains so obscure; it’s up there among Stallone’s best outside of his big franchises. (It’s also streaming on Netflix as of this writing.) Great NYC locations, crazy practical stunts, and Rutger Hauer as one of the all-time great movie villains, the ruthless and terrifying Wulfgar. If I ever get to program a retro of great New York movies, this will be in there.
Or Shitehawks as my dad calls it.
It's become fairly well documented that Universal sliced up Nighthawks something rotten back before its release in 1981. The version that does the rounds now, at around 100 minutes, is apparently shorn of 40 more minutes of footage that is apparently still knocking around in various places but seemingly unlikely to be restored to the film in any future re-releases.
Although Nighthawks does feel in one or two places as though it is slightly rushed and haphazardly edited, and the ending comes very abruptly indeed, no-one is going to be able to convince me that this film ever needed to be two hours and twenty minutes long. That is WAY too long for…
Rutger Hauer's terrorist is, for all his supposed brilliance at changing identities and evading police detection, a complete idiot. Wulfgar my man, you don't need to be Sherlock Holmes to connect the dots between you and the dead woman in the apartment full of terror weapons (and a map with the place you just bombed circled!). That kind of thing is sort of a red flag.
Nonetheless, there's great stuff here including some of the best New York City location shooting I've seen from this period (capturing both the beauty and blight of early '80s Big Apple), an AMAZING slow-burn cat-and-mouse scene in a disco (to the sounds of Rolling Stones' "Brown Sugar!") and one of the all time great final cop-criminal showdowns. It's so damn good that it actually made me burst into applause. Big thumbs up.
this is a really weird movie stuck between the street-level grime of 70s crime actioners and the bigger, more incoherent 80s ones on the horizon, where character would become more about a strange detail every so often peppering a madlib plot rather than conveying any sort of emotion or psychology. anyway large parts of this make no sense, it feels like entire scenes are missing and every character is weirdly bad at their job, but as a result this is a total blast to watch and it has one of the most insane endings i’ve ever seen.
pretty ruthless despite a low body count, and admirably scuzzy with some lovely, really spare New York location work, but Sly and Billy Dee have to be the two most useless fucking cops on Earth. it's one thing to cause more trouble than you're duty-bound to prevent and entirely another to lose the bad guy and get an innocent bystander killed because you refuse to call for backup, check a corner or cover an exit with a suspect not 15 feet away. i suppose they're not so terrible a match for Rutger Hauer's Wulfgar, this movie's version of a Baader-Meinhof-type left-wing eurotrash extremist. a staggeringly lucky incompetent with no actual apparent agenda who does stuff like shack up with a…
Sylvester Stallone and Billy Dee Williams take on Rutger Hauer in "Nighthawks," a hard-edged action game of cops versus terrorists. Awash in early '80s New York grit, Bruce Malmuth's film follows Stalllone and Williams' street-bound detectives in pursuit of a threat bent on major destruction. The pace is swift, the tension is high, and the Stallone-Williams pairing is suitably heroic. With a menacing Hauer tying it all together, the work rates as a potent experience.
Nighthawks (1981) started life as French Connection III.
Somewhere between Gene Hackman refusing to revisit his iconic cop, Popeye Doyle, and 20th Century Fox letting the project go to Universal, it was reworked by writer David Shaber (The Warriors) into Nighthawks. While much of the lore surrounding the released film relates to Sylvester Stallone taking control of the production (which including the dismissal of the original director, replacing him with an unproven notice, and being fined by the union for filming without a director) and some off screen animosity with villain, Rutger Hauer, I find it more interesting to see how it fits in with the original franchise.
For those unfamiliar, The French Connection deals with a rough New York…
Geoff T's Todd Gaines Challenge
Favourite Movies: Nighthawks (1981)
This one was hard to track down, it's a pretty obscure one for the most part. This was Sly Stallone earliest action role as far as I know, but it's alot more realistic and mature in comparison to his subsequent outings like the Rambo trilogy (minus the first) and Cobra. It's similar to French Connection in alot of ways, but I thought it stood out well enough on it's own without having to be compared.
Stallone here is a NYC detective named Deke DaSilva (baring an uncanny resemblance to Al Pacino in Serpico), who along with his partner Matthew Fox (Billy Dee Williams) is assigned to the NYPD's anti-terrorist decision, when…
The story of a cop resolving his gender dysphoria through reactionary violence. The pupa that would incubate the glorious butterfly of COBRA. Way more crispy directed than it has any need to be.
Interpol recruits buddy cops Sylvester Stallone and Billy Dee Williams to join a team to bring down international terrorist Rutger Hauer. Thus it's two NYPD detectives specializing in reducing street crime now engaged in an effort with international dimensions. It works ok, especially when their lieutenant played by Joe Spinell shouts down Stallone who tells him he doesn't want the assignment. Spinell doesn't get much time, but he's a beast. You're supposed to buy into the storyline of them learning new level of policing to battle terrorism, and wonder if their background as undercover cops on NYC's gritty streets will work in their favor or not. The atmosphere is vintage New York at some of its grimiest points in its…
This movie deserves a bigger following. We've got Sly, Billy Dee, and Rutger Hauer running around early 80s NYC doing cool stuff and dripping hard. It's fun.
Sylvester Stallone and Billy Dee Williams partner up as New York City cops on the hunt for international terrorist Rutger Hauer. Has the gritty feel of many urban thrillers throughout the 1970s, and Hauer is memorable in one of his first American movies. Stands out in Stallone’s career as a more grounded in reality action film. Watched on Shout blu-ray
Your run-of-the-mill Stallone action film from the 80s. Unlike some of his other action flicks from the decade, this one isn't over the top (no pun intended). There are a couple good twists and exciting action scenes, most notably the club scene and the ensuing foot chase. There were also a few good songs featured in the movie (you can never go wrong with The Stones). But there isn't anything memorable here, and the movie feels like an episode of a generic 70s cop show. I think that might be due to the Glen Glenn Co doing the sound for this movie, as they did the sound work for some shows from the 70s and 80s. There was also some troubled production and a lot of scenes cut, so those could also be a few important factors as well
And I think that movies have taught me that the Roosevelt Island cable car is not a safe way to travel!
Sylvester Stallone and Billy Dee Williams star in this movie which is unfortunately not a Rocky Balboa and Lando Calrissian road trip but rather they play a pair of cops who undergo training to take down a dangerous international terrorist. Overall it is a pretty formulaic story with the main twist being that the Stallone character is gun shy and reluctant to ever pull the trigger even when deemed necessary. I won't reveal any plot elements here but I'm pretty sure you can figure out how this all ends up. In the end there's nothing wrong with this movie but nothing to write home about either, if anything I am probably rating it too highly because of how much I like the two star actors. I can't recommend Nighthawks but check it out if you like Billy Dee or are trying to watch the entire Stallone library!
This film looks great (the chase scene through the warehouse has one amazing shot). The 3 male leads (Rocky, Lando and the tears in rain guy) are all really good. Some good nightclub scenes as well which I always appreciate. The pacing seems a little off though, and the subplot with the estranged wife is a bit underdeveloped.
Interpol needs to buy some counter-terrorism wigs.
Sylvester Stallone recruited as a terrorist busting cop in late 70s New York? I feel like this should have been awesome, but it unfortunately wasn’t. Stallone does a perfectly fine job, and even Rutger Hauer is pretty menacing, but dumb plot threads and a whole lot of nothing happening kills this. Some nice shots of crazy New York disco clubs though.
Spotty, predictable, decent performances (especially Rutger Hauer who may well have helped shape a certain 'Hans Gruber' portrayal by Alan Rickman) and overall generally likeable.
It suffers a little with poor direction and odd choices of when to slow the pace. The plot is oddly premoniatory for the subsequent decades.
Aside from its age and the cheap budget, it's a solid enough watch.
Kinda tame and boring exept for the disco scene and the recurring cross dressing. it basically lacks all of the elements (e.g. 80s sleaziness) movies like this need to be fun. But stallone wears some cool outfits in the first half and it's well shot and everything so its ok
Dopey cops who are On The Edge meet a generic terrorist in a grimy NYC.
Stallone, Billy Dee Williams, Rutger Hauer and Persis Khambatta are all having a hoot. The direction is generally pretty good but this ends up falling a little flat despite the cast and a cool 80s style.
The score by Keith Emerson is just wrong, so bombastic and pompous.
Film #510 of 2020.
Sitting at a desk covered in stacks of leatherbound books lit by candlelight, picking up a quill and asking, “what shall my villain be named?”
Billy Dee as cool as ever, Rutger Hauer slinking around in that devilish way only Rutger Hauer could, Stallone rocking a wild look while showing some nice restraint, some unexpectedly great shots — that night club sequence! — and more of a 70s NY feel than an 80s one mired by bad pacing and odd editing choices, more than made worthwhile by one of the funniest endings I’ve seen in quite some time.
"I didn't join the force to kill people"
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