IMDb RATING
6.4/10
3.3K
YOUR RATING
Two U.S. border patrolmen find a buried 20+ year old jeep in the desert with a skeleton, rifle and $800,000. They keep the money. Suddenly, the FBI shows a lot of interest in the car.Two U.S. border patrolmen find a buried 20+ year old jeep in the desert with a skeleton, rifle and $800,000. They keep the money. Suddenly, the FBI shows a lot of interest in the car.Two U.S. border patrolmen find a buried 20+ year old jeep in the desert with a skeleton, rifle and $800,000. They keep the money. Suddenly, the FBI shows a lot of interest in the car.
Miguel Ferrer
- Roget
- (as Miguell Ferrer)
Ana Auther
- Roget's Date
- (as Ana Marie Auther)
- Director
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaWhen director William Tannen hired Tangerine Dream to score the film, he told them not to do the end title song because he had one he was using - "Sympathy For The Devil" by The Rolling Stones. Tangerine Dream said it was the perfect song to end the film with. They scored the entire film but this piece. The studio felt the song was too expensive and instead gave the assignment to an assistant who worked for one of the vice presidents. It was voted "worst" end title song for 1984 by the film critic Leonard Maltin.
- GoofsThe film is supposed to take place in Texas but there are numerous scenes where saguaro cacti is visible. Saguaro don't grow in Texas.
- ConnectionsFeatured in RoboDoc: The Creation of RoboCop: Verhoeven's Mantra (2023)
Featured review
Eight hundred thousand dollars buried in desert sand in a wrecked Jeep just might be a ticket out of a Border Patrol job turning more bureaucratic and stifling by the moment. Agents Kris Kristofferson and Treat Williams try to find where the dollars, and the Jeep, and its dead driver,have come from. They'd like to split with the money and escape the irritating changes about to drive them off the Texas desert they know so well, but honesty and curiosity compel them to make sure the money's not tainted. Federal agent Kurtwood Smith, in from Washington knowing all the answers full well, has other plans for them.
I saw this film in its first release in 1984, and admired the way in which the script explored nuances of the conspiracy-fuelled '60s in American society and politics. I also liked the skill with which the script dropped hints and clues that, by film's end, were perfectly clear and coherent - a pleasing adjunct to the major puzzle of the decade. But in the years of watching it since, I've come to like best the acting skills which the cast, ably directed, demonstrate with texture and charm. Kristofferson and Williams are among the most appealing buddies you'll find in any thriller - in fact I can't think of a better pair; they complement each other as well as Al Pacino and John Goodman do in Sea of Love, and that's the highest praise I can offer. I can't think why Kristofferson and Williams (or Pacino and Goodman, for that matter) haven't been paired again by an enterprising producer. Jean Smart and Tess Harper are equally charming and nuanced in smaller roles made large by Smart's fiery energy and Harper's thoughtful attractiveness. Miguel Ferrer and Guy Boyd are perfect as a pair of amiably corrupt colleagues. On the dark side, Smith and Patrol boss Kevin Conway, as well as "Department of Public Safety" (ie. Texas Ranger) marshal Rip Torn, show how true villains are simply focused career men who believe implacably in the warped values they've espoused. Torn, at least, has the grace to change. At the end, he makes a statement to Kristofferson which might be our beacon too, our rationale for keeping up the search for truth in this lie-filled first decade of the new century: Looking back at his own choices, and forward to Kristofferson's tense future, Torn barks "Do it! Be the one who got away! Whatever happens, should've happened years ago." A very fine action film, remarkably well-performed.
I saw this film in its first release in 1984, and admired the way in which the script explored nuances of the conspiracy-fuelled '60s in American society and politics. I also liked the skill with which the script dropped hints and clues that, by film's end, were perfectly clear and coherent - a pleasing adjunct to the major puzzle of the decade. But in the years of watching it since, I've come to like best the acting skills which the cast, ably directed, demonstrate with texture and charm. Kristofferson and Williams are among the most appealing buddies you'll find in any thriller - in fact I can't think of a better pair; they complement each other as well as Al Pacino and John Goodman do in Sea of Love, and that's the highest praise I can offer. I can't think why Kristofferson and Williams (or Pacino and Goodman, for that matter) haven't been paired again by an enterprising producer. Jean Smart and Tess Harper are equally charming and nuanced in smaller roles made large by Smart's fiery energy and Harper's thoughtful attractiveness. Miguel Ferrer and Guy Boyd are perfect as a pair of amiably corrupt colleagues. On the dark side, Smith and Patrol boss Kevin Conway, as well as "Department of Public Safety" (ie. Texas Ranger) marshal Rip Torn, show how true villains are simply focused career men who believe implacably in the warped values they've espoused. Torn, at least, has the grace to change. At the end, he makes a statement to Kristofferson which might be our beacon too, our rationale for keeping up the search for truth in this lie-filled first decade of the new century: Looking back at his own choices, and forward to Kristofferson's tense future, Torn barks "Do it! Be the one who got away! Whatever happens, should've happened years ago." A very fine action film, remarkably well-performed.
- How long is Flashpoint?Powered by Alexa
Details
Box office
- Budget
- $10,000,000 (estimated)
- Gross US & Canada
- $3,854,833
- Opening weekend US & Canada
- $1,916,222
- Sep 3, 1984
- Gross worldwide
- $3,854,833
Contribute to this page
Suggest an edit or add missing content