Three Italian-American brothers, living in the slums of 1940's New York City, try to help each other with one's wrestling career using one brother's promotional skills and another brother's con-artist tactics to thwart a sleazy manager.
Deke DaSilva and Matthew Fox are two New York City cops who get transferred to an elite anti-terrorism squad. About this same time, an infamous international terrorist shows up in New York City looking to cause some chaos. It's up to DaSilva and Fox to stop him, but will they be in time...?Written by
Some of Keith Emerson's score for the movie was also cut down on account of to the many reediting problems that movie had. Most of the tracks from the soundtrack are longer than their movie versions, and there are some which were intended for some longer scenes, ones of many which were deleted. Best example of it is the track "Face to Face" which is the music that Emerson composed for the infamous original ending where Wulfgar is torn to pieces in slow motion with his flesh and blood flying around the room while Deke shoots at him. Emerson said some interesting things in the soundtrack notes about composing the music for deleted scenes between Deke and Irene (in notes he refers to character DaSilva as De Soto); "That bit when De Soto tries to get back with his ex-wife (Lindsay Wagner) we need some love interest there", said Harry. "I made notes (Humm, love interest). Sly, whom I felt comfortable addressing as such, felt uncomfortable watching the rushes. His comments upon viewing the love scenes between Lindsay and himself led him to say, 'That's the last time I go in Billy Dee's trailer.' Most of it was cut along with the love interest music."
Emerson also said some things about his music being edited for the final theatrical version of the movie; "Universal got some old dyke as music editor that had worked on Jaws (1975). She was a minimalist in maximalist clothing and immediately set about stripping everything down apart from my underwear in order for my entire score to reach the big screen as half the man I might have been. Sly, upset about Raging Bull (1980) was already working on another Rocky sequel, and couldn't be bothered." See more »
When Fox is loading his rifle just before the confrontation at the bus, you can clearly see the crimped ends of the blank rounds he's loading. See more »
When this film is shown on cable TV, there are 2 instances where there is actually additional music from the score laid over existing music. This is most noticeable during the disco shoot out as DaSilva gets close to Wulfgar - the score rises up and blocks out the song playing at the disco. See more »
Hollywood's toughest hero VS Hollywood's meanest villian
Finally, Sly Stallone stars in a film that he really deserves to appear in! He and Billy Dee Williams make a great team as two no-nonsense New York cops who chase Rutger Hauer, who has a great role as a remorseless terrorist (then again, no terrorist has a heart of gold!) Though he's totally unrecognizable with a long beard, Stallone does an exceptionally good performance because unlike his other cop roles, such as Ray Tango from "Tango and Cash", Sly doesn't portray a cocky character, which makes it very realistic. However, our hero doesn't show his muscles in this flick, but, it proves that you don't have to be brawny to be a tough guy.
Hauer is also perfect, playing what he does best, an oily villian. He might look very suave at first in this film, but when he shows his true colors, you better watch out. Last but not least is Billy Dee Williams, who does a cool Roger Murtaughesque cop who relies on his partner Sly to do the job.
If you're in the mood for suspense and good chase scenes, "Nighthawks" is your gameplan. Look out for the great conclusion. It might cause you a great deal of shock!
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