Cohen & Tate

Anyone who doesn't like this movie is immature and relies on cheap thrills for entertainment. This is a perfect example of making a good movie with a low budget and no extremely well-known actors. On a scale of 1 to 10, this movie is an easy 8 1/2.

"Cohen and Tate" is a reasonably entertaining road movie of the dramatic kind: mismatched mafia hit men Cohen (Roy Scheider) and Tate (Adam Baldwin) carry out an assignment to kidnap young Travis (Harley Cross of "The Believers"), gunning down his parents and the FBI agents watching over them. Travis had witnessed a mob rubout and now the employers of Cohen and Tate want to know everything that the kid knows before taking *him* out. The problem is, nothing goes smooth because of the two opposing personalities in play here. Cohen is the Older and Wiser type, very weary at having to put up with a hothead punk such as Tate, the kind of guy who enjoys violence way too much. Travis soon notices this and realizes that his best chances for survival lie in attempting to pit them against one another.

Eric Red, screenwriter of "The Hitcher" and "Near Dark", made his feature length directing debut with this moderately interesting, very well paced little film, his version of the O. Henry story "The Ransom at Red Chief". Most of the film takes place inside a car, so he proves up to the challenge of shooting in a claustrophobic environment and keeping the audience involved in what is happening. As Cohen and Tate spend more and more time with each other, things just get more and more grim and uneasy. Tate has shown his capacity for savagery, and his quick temper, and the increasingly more frustrated Cohen finds it harder and harder to maintain his self control. What is often truly disturbing is seeing guns repeatedly leveled at young Cross' head. You really fear for this kids' life.

Right from the start, Red is ratcheting up the suspense, diving head first into the action. In an odd touch, he gets his back story out of the way *very* quickly with a brief expository text. Then things soon get ugly. Red does an excellent job of keeping his tone grim throughout. Much of the effectiveness, however, can be attributed to the acting. Baldwin is a live wire in his part, and young Cross delivers a sympathetic, mature performance, holding his own opposite his more experienced co-stars. Scheider is of course superb; he's as commanding as ever as the professional killer saddled with a loose cannon partner. Cooper Huckabee ("The Funhouse") is good in his brief screen time as Travis' father. Talents behind the camera include composer Bill Conti and cinematographer Victor J. Kemper.

"Cohen and Tate" is good stuff and is worth seeking out or rediscovering for the cult movie aficionado.

Seven out of 10.

Harley Cross does fine work here as Travis Knight. Travis and his family were living out in the middle of nowhere in the witness protection program until their temporary hideout is infiltrated by gangsters. Travis is not only the sole survivor of the massacre, but also the only one who can identify the perpetrators. Two hit men known only as Cohen (Roy Scheider) and Tate (Adam Baldwin) are hired to kidnap the boy and drive him to their boss.

But, they're not dealing with just some kid. Travis actually turns out to be rather clever in what may seem like a helpless situation, figuring out Cohen and Tate's psychological weaknesses (Cohen is a by-the-book-no-questions-asked hit men while Tate takes pride in tormenting the smart-mouthed kid) and using it against them to protect himself.

It is a very simple film done quite well because it entirely character-driven. Surprisingly, it is quite a good thriller, despite the usual story of the hired hand and the mafia witnesses with great performances all around.

This is a little known thriller from the guy who wrote the screenplay for The Hitcher. Like that film, this one is a road movie.

Plot: two hit men rub out some mob witnesses but have to contend with a survivor, a plucky little kid.

Roy Scheider's performance as Cohen, the sleek professional hit-man is wonderful. When he slips on what looks like a pair of black rubber gloves at the start of the film, it somehow says almost all you need to know about him.

Adam Baldwin is equally impressive as the less slick and much less professional killer, the ominously psychopathic Tate, who likes to run over small animals while he drives...

This film is extremely tense in spots. And if you're a fan of films that end with a bang, you should enjoy the climactic confrontation between the cops, the killers, and that damned little kid! This might be Roy Scheider's last great role.

I cannot understand why this movie has not been given better reviews. One of those films which surprises you with its originality and which having seen it you cannot understand why it has not been given more screen time.

Brilliant professional acting between Baldwin and Scheider keeps you guessing till the end as to who is going to win the battle of wills between the two men and the boy. A terrific black comedy of errors which makes you feel almost sorry for the two hit men. It would be a mistake not to watch this movie simply because you have read the bad reviews of it on this site.

It deserves to be released worldwide on DVD.