6. Truth or Consequences, N.M. (1997)
After stealing a suitcase of drugs from the mafia, a gang of outlaws are forced to go on the run across New Mexico. They kidnap a couple and hijack their RV, but one of the gang is not who they claim to be. The criminals are depicted by Kiefer Sutherland (also the movie’s director), the controversial Vincent Gallo, Kim Dickens and Mykelti Williamson (famous for playing ‘Bubba’ in Forrest Gump). John C. McGinley (Wall Street, Scrubs) and Max Perlich constitute the supporting cast. What is more, Martin Sheen makes an appearance as a hitman, in perhaps the coolest, most savage part of his career. The film’s title comes from the name of a real town in New Mexico, where the tragic climax takes place.
Truth or Consequences, N.M. was only ever released in seven cinemas. As a result, it made little revenue and has remained maligned. Taking inspiration from Bonnie and Clyde, it is in fact a highly entertaining, exemplary road-meets-gangster movie with a lot to excite thriller fans. Some of its attributes include its classic, neo-western story, dialogue and satisfying, minimalist plot structure, condensing the best of neo-noir. Other elements worthy of praise are its twists and Kiefer Sutherland’s performance as Curtis Freley, the gang’s leader. This trigger-happy psychopath is as frightening as he is funny. After his gang goes to bed, he snorts copious lines of cocaine in the dark. He then dances alone to blasting music, chattering gibberish to himself.
Truth or Consequences, N.M. further boasts one of the most memorable, exhilarating shootouts in cinematic lore. Some critics have taken issue with this film, dubbing it a “Tarantino knockoff,” due to its similarity to From Dusk Till Dawn. Conversely, while Tarantino usually focuses on pure entertainment and cartoonish violence, Truth or Consequences, N.M. delves into deeper themes. Kevin Pollak’s character, genteel yuppie Gordon Jacobson, is in awe of his captors. His admiration for and emulation of them, leading to his foray into crime, serves as a cautionary tale of glorifying violence and idolising outlaws. As a result, the film imparts a serious commentary on the role of movie violence. It further touches upon real-life violence’s longterm psychological impact for its perpetrator.
7. Perdita Durango (1997)
Author Barry Gifford penned the romantic crime novel Wild at Heart, famously adapted into a 1990 film by David Lynch. Gifford continued to produce books set in Wild at Heart’s world. The third instalment in the series, 59° and Raining, focuses on the character Perdita Durango, played by Isabella Rossellini in Lynch’s film. This time portrayed by Rosie Perez, Perdita teams up with bank robber Romeo Dolorosa (Javier Bardem, in his first English-language lead role). Pursued by the cops, they kidnap teenagers and drive to Las Vegas to work on a crime.
One of the qualities making Perdita Durango interesting and unique is its depraved, nihilistic, excessive tone. Melding neo-noir with horror, it is a surreal, heavy metal collage of cannibalism, rape, violence and unwavering cruelty. Its blunt transgression is typified when a lorry spills shelves of pickled babies, jars smashing upon the asphalt. In another scene, Romeo conducts a Santeria ceremony. He enters an entranced, demonic fit, before hacking apart a man’s corpse and spitting blood in the spectators’ faces. It is almost as though this movie is a revolution against good taste and restrictive traditionalism. The bohemian mise-en-scène and presence of legendary bluesman Screamin’ Jay Hawkins, further exacerbates the bizarre, macabre atmosphere.
Hawkins’ nonsensical one-liners, trumpeting laughter and ghoulish appearance toes the line between comedy and hallucinogenic spookiness. What is more, the Goya Award-nominated costume design is another of Perdita Durango’s high-points. This is especially true of Romeo’s cowboy boots, taxidermy snake heads snarling on the toes. Bardem’s nightmarish portrayal of Romeo lays the foundation for his later role as Anton Chigurh in No Country For Old Men. It is plausible that his casting in that film occurred after the Coen Brothers watched Perdita Durango. Also among the cast is the late master James Gandolfini. He plays an unlucky DEA agent, alongside his gormless sidekick, styled by Repo Man director Alex Cox.
8. Point Blank (1998)
Escaping a prison bus, a cadre of fugitives make a shopping mall their fortress. They take hostages, while the police surround the perimeter. Former cop Rudy Ray (Mickey Rourke) sneaks into the mall to save his brother Joe (Kevin Gage), numbering among the prisoners.
Upon first glance, Point Blank is a fun shoot-‘em-up. Its unapologetically continuous machine gunfire is scored with an anachronistic, 1980s ballad guitar solo. Utilising his characterful appearance, Hollywood legend Danny Trejo delivers one of his finest, most unhinged performances, in his satanic, terrifying, bloodthirsty turn as Wallace. However, it is Mickey Rourke’s presence which elevates the formulaic material. Firstly, Rourke satisfies the function of a muscular, Rambo-like gunfighter. He dominates the movie with his skilful, brazen, super-cool prowess. On the other hand, in contrast to the rest of the film’s ruthless machismo, when interacting with Joe, Rourke reveals Rudy’s startling tenderness and sensitivity.
His sudden, juxtaposing emotional depth transforms the movie’s value, into a exploration of familial love. When watching Rourke, one forgets that he is acting, such is the raw power, delicacy and heartfelt honesty of his craft. In moments like these, Rourke’s potential and acting brilliance is glaring. Despite a promising start, Rourke undeservedly never quite attained the A-list prestige of his peers. Point Blank proves that he is not merely a Schwarzenegger-esque action idol, but additionally professes dramatic chops to rival any other great thespian. It feels like a missed opportunity that, with the exception of certain directors like Aronofsky, Hollywood never understood what range Rourke has to offer. He could as easily hold his own in a serious drama, as he has when leading countless B-movies.
9. Body Count (1998)
A group of thieves (including Ving Rhames, John Leguizamo and David Caruso) attempt to rob an art gallery. When the plan goes awry, they are forced to go on the run, picking up con artist Natalie (Linda Fiorentino).
For fans of capers, Body Count is a particularly enjoyable and iconoclastic iteration. Structurally, it contains all the goods one desires from the sub-genre, such as suspense, action and comedic repartee. Body Count is helmed and grounded by Pulp Fiction’s Ving Rhames. Though typically appearing as a character actor, here, Rhames is rightfully awarded the chance to star, which he comfortably excels at. John Leguizamo also proves to be one of the movie’s assets, for the superlative complexity he brings to the character of Chino.
Chino’s conversion from cockiness, to feeling wounded, to anger, to delusions of grandeur, to slyness, to humour, makes him a notable, interesting and well-realised character. This is because his reactions and behaviours play as honest and not one-dimensional, ringing true to real-life individuals. Moreover, Chino’s conflicts with the acerbic Hobbs (David Caruso) reveal Body Count’s more thoughtful considerations. Though comic, these interactions denote the dangers of allowing one’s ego to spiral out of control. This is in conjunction with the consequences of racism and disrespecting others. For caper fans unfamiliar with Body Count, it needs to be the next title on their watch list.
10. The Pass (1998)
After his wife leaves him, Charles Duprey (William Forsythe) travels to get therapy for his gambling addiction. On the way, he picks up a hitchhiker (James Le Gros) who turns out to be a serial killer.
For movies like The Devil’s Rejects, William Forsythe is revered as a threat-whispering badass, akin to a modern-day John Wayne. Meanwhile, supporting pictures like Drugstore Cowboy, James Les Gros is recognised for his humble, anxious and well-intentioned characters. In The Pass, both Forsythe and Le Gros are cast against type. Charles Duprey begins as a hapless, bland regular Joe. But when faced with desperate situations, Forsythe’s status as an action star kicks in. Charles’s character arc begins to curve, revealing a very different side.
Meanwhile, casting Le Gros as a serial killer creates mystery. His actual friendliness is used as a mask for his character’s violent impulses. This makes it notably eerie when his intentions are revealed. Successfully attaining pathos for Charles in the setup, The Pass’s well-written storyline is surprising and suspenseful. Exacerbating its value is its attention to detail. Charles’s occupation, a comic book publisher, builds verisimilitude and originality. Under-watched, The Pass is a cat and mouse thriller that deserves more recognition. This assessment is also true of William Forsythe’s mythical status in crime movies.