Relentless

What at first seems like yet another bleak cop drama/vigilante thriller from William ("earth tones and unappealing locations ONLY, please!") Lustig gradually turns into a fine little sleeper. "Relentless" is robotically assembled in certain aspects (killer strikes; cops consult; quality time with wife and kid (repeat), but the sharp script (by Phil Alden Robinson under a pseudonym), excellent performances, and steady pace help redeem the more trite elements. Leo Rossi and Robert Loggia are two cops assigned to a rash of murders committed by Judd Nelson, the son of a deranged 'hero' cop (played in flashback by Beau Starr), who has just been rejected from the Police Academy on--you guessed it--psychological grounds. There is a definite snap to the banter shared between Rossi and Loggia (the rookie and the jaded veteran), and certain touches, like the high-strung police captain, lend much to the film's intentional humor; the scenes with Rossi and his wife and son are well-handled; and the killer's contrast is appropriately oppressive (Nelson's performance is more about body language and facial expressions than dialog). Lustig once again tries to ape William Friedkin's tough-guy, action-oriented style (Rossi even gets a chance to race against traffic in the third act), and the result is quite successful--"Relentless" is seriously worth a look.

This one's funny because it's your basic procedural potboiler about a hotshot rookie detective and his grizzled old partner tracking a murderer, which, yeah, is pretty standard, except here the grizzled old partner doesn't really do anything. He doesn't help solve the case, he doesn't mentor the rookie in any meaningful way, he doesn't offer any profound insights into life… all he does is sit around and bitch and moan about how work sucks and how the boys at the crime lab can take care of it. It'd be like if Morgan Freeman had spent the whole run-time of 'Seven' playing cards with that crew in the library and let Lab Tech #1 do all the work.

The first entry in this series is mediocre. Although it's okay to watch if you have nothing else to do or watch, it really isn't more than that. Resembles a made-for-tv movie.

This crime story has some scary scenes, with an especially memorable one early on with a woman hiding in a clothes dryer. In fact, the first half of this is excellent but it peters out that point with two typical Hollywood clichés of crime movies of the period.

They are: 1 - the good cop (Leo Rossi as "Sam Dietz") going it alone despite the orders of his superior; 2 - the killer going to the good cop's house to kill his family. Too bad it stooped to these obvious story lines because this could have been an outstanding serial-killer movie. As it is, it would up being slightly better- than-average. By the way, what's with Meg Foster's eyes? It looks like they have no pupils. It's eerie to look at that woman's face.

This movie spawned several sequels and the sequels were better and better as they went along.

A demented serial killer is wrecking havoc on the streets of L.A. It's up to a rookie and a veteran cop to stop him.

Sound familiar? You bet. Yet this film seems to creep up above most other films of the similar genre, thanks in most parts to an unusually effective performance from Judd Nelson. Most of the times I don't particularly like him, but here he fits the bill perfectly.

The supporting performances are also quite good. Robert Loggia plays it straight as the veteran cop and Leo Rossi has never been as appealing as here. Director William Lustic creates a reasonable amount of suspense and keeps things moving at an adequate pace. But mostly, this film will be remembered (by me anyway) as the best Judd Nelson film, and his best performance. He plays a psychopath to a tee.