A female rookie in the police force engages in a cat and mouse game with a pistol wielding psychopath who becomes obsessed with her.
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Jamie Lee Curtis joins the boys in blue and learns firsthand the perilsof a man's world when her new boyfriend (Ron Silver) is revealed to bea psychotic killer with a gun fetish. It may look like any other moderncop show, but hiding underneath all the glossy imagery is a cleverfeminist agenda, suggesting that the only true gentleman in a jungle ofmale chauvinism is likely to also be an obsessed and impotent serialkiller. In less insensitive hands the film might have stretched thatidea beyond the voyeuristic opening credits (with its sexy shots ofCurtis half dressed, fading to loving close-ups of a Smith and Wesson),but director Kathryn Bigelow and her co-writer Eric Red have enoughproblems simply honoring their obligations to credibility. At leastthree false climaxes come and go before the final, violent battle ofthe sexes, and the film ends in an unbelievable orgy of bloodlettingmore consistent with the scummy neuroses of Red's previous screenwriting effort, 'The Hitcher', no doubt with a few creative pointersfrom co-producer (and master of sledgehammer subtlety) Oliver Stone.
I really enjoyed Bigelow's other early 90s action movie "Point Break".I thought it was Keanu Reeves' most suitable role as a playboy surfercop. And I took the movie fairly seriously. I wasn't expecting "BlueSteel" to be as good but I also didn't expect it turn into a comedy,which made it all the more funny. Ron Silver must of had a ball,playing a foaming at the mouth psycho. An earlier reviewer put hischaracter best, "nuttier than a fruitcake"; I couldn't agree more. Bythe final scene, my mouth and throat hurt I was laughing so hard withmy friends and family. Definitely watch this one with a large groupwith similar tastes.
I wanted to like Blue Steel more than I did, but in the end the film is not effective as a psychological cop drama, an action film, or a thriller. It's only use seems to be as an over stylized, heavy-handed exercise in emasculating a female cop for some role reversal in a genre dominated by tough male cops (Dirty Harry and its dozens of imitators). It's sure to excite film theorists looking for a feminist angle, but in the end it comes off as plain silly when it had a lot of potential.Jamie Lee plays Megan, a rookie cop who gets suspended after shooting a robber her first night on the job. (The robber is a cracked out Tom Sizemore). The crime scene gun, which would clear her, disappears into the hands of one of the witnesses. Ron Silver is the Wall Street gold trader who grabs the gun and begins a maniacal killing spree, carving Curtis' name into the bullets and implicating her. In the meantime, he begins seeing her romantically after arranging a chance meeting on the street. This enables him to really play with her mind; as the relationship escalates, the bodies start piling up. Even after he implicates himself to her during a demented revelation of sorts (that gun grabbing business will have film theorists drooling), his status makes him a very unlikely suspect, and his expensive lawyer is able to shield him from the cops. He even shoots Megan's best friend right in front of her, yet he still gets away with it. The man is clearly nuts, yet he's somehow untouchable.There is practically no insight into Silver's character. Like how a successful trader (who readily describes his own job trading gold options as 'misanthropic') is just one stray gun away from becoming the next Son of Sam. Silver is a tremendous actor but he's given little to work with. Having Silver play a trader must be some comment on a male dominated industry (Wall Street, traditionally) and its relationship to other primal male instincts (killing?), only hinted at in some of Silver's wackier moments. It's not exactly subtle, and if you think about it, it's even slightly offensive.The movie is rife with plot holes and jumps in logic that you dismiss until the end, when absurdity really takes over as a deserted Wall Street turns into the Wild West. Our two principles chase each other, exchange gunfire at close range, get shot, run some more, shoot each other again, etc. I kept thinking it was a dream sequence, but it wasn't. Silver turns into Michael Meyers; he just can't seem to die. He's shot, he's down, he's back up, he's shot again, etc. Don't worry, that wasn't a plot spoiler; you can see it coming from the opening titles. Blue Steel could have been much better. Perhaps it was too early in director Kathryn Bigelow's career. The intense, confident visual style of Near Dark is here, but the film is mainly concerned with vindicating its androgynous star's character through (typically male) movie violence. The significance is that it's a female director. The film would probably make even less of splash were it released today. There are worse ways to kill time. The DVD is not bad, it looks and sounds good enough. So nice of the studio to include nothing in the way of extras; everyone loves having to buy the same product yet again. Recommended for Bigelow and Curtis fans.
With fewer flashy visuals and a better-written script, this could have been one of the best films about the relationship between sex and power. As it stands, it's worth recommending only for Jamie Lee Curtis' magnificent portrayal of a woman (man?) on the edge.
Every once in a while someone comes up with a movie and makes the terrible assumption that as long as they put a well known actor/actress in it that everything will turn out good. Blue Steel is one of those movies. Jamie Lee Curtis plays a rookie cop who is being held responsible for civilian casualties (or should I say murders) which she did not commit. Sounds like an interesting plot, right? It would be had the script not been so poorly written. The supporting actors give such a bland/typical performance that not even Jamie Lee could have saved the dialogue. Aside from the acting, the film does not give the action packed performance that it promises. Some scenes are quite dull and as you are watching you wonder half way through the movie when the cop (Jamie Lee) is going to finally kill the psychopath whose been after her. So why do I give Blue Steel an extra star? Well, I'll just say that if you are a fan of Jamie Lee Curtis you might want to watch this if it comes on television. Just don't pay over $3 to rent it and certainly don't buy it.
This film begins well enough, building to what looks like being a promisingstudy of a psychopath pitted against a feisty, but vulnerable, policewoman.Drawing on fear as a driver of eroticism, the unlikely relationship betweenCurtis and Silver develops to the edge of what might have been a great film.But sadly, at the halfway point, the story becomes unbelievable as bothcharacters undertake actions that render the plot risible. Silver turns in an impressive performance as the deranged commodity traderand Curtis plays it adequately enough. But neither can do anything to savethe plot line and the whole thing ends in a mess, with the hardware ofweaponry taking over from the software of psychology that would haveprovided a far more intelligent film.
Jamie Lee Curtis plays officer Megan Turner, a rookie cop who kills anarmedrobber her first day on the job. During the commotion, one of thewitnesses,Eugene Hunt, a Wall St. gold trader played by Ron Silver, snatches therobber's gun and, faster than you can say "junk bonds", turns into apsychopathic serial killer with an obsessive fixation on both the gun andTurner.The total absence of intelligence in this movie makes it painful to watch.Even after Hunt murders her closest friend on her doorstep, Turnercontinuesto spend her evenings at her apartment, never bothering to so much ascheckthe place out for intruders. So it comes as little shock when Hunt istherewaiting for her one night.No one else in the movie manages to demonstrate an IQ higher than theirage,either: a supermarket clerk, after being threatened by a gun-wieldingmaniacfor five long, tedious minutes, replete with threats to "blow him away",later, under police questioning, says that the weapon might have been aknife. The only reason for such staggering stupidity is that it wasnecessary to force an unwilling script kicking and screaming down anunlikely plot-line.So stay away from this one, folks. It's not even bad enough to befunny.
Ron Silver does well as a crazy. Jamie Lee Curtis does better in comedy-in my opinion. Not a favorite.
Jamie Lee Curtis gives a superb and winning performance as MeganTurner, an eager and gutsy, but neurotic and vulnerable rookie cop whoblows away a supermarket hold-up guy (an electrifying cameo by TomSizemore) on her first night of active duty. Demented Wall Streetbroker Eugene Hunt (a terrifyingly intense and wired portrayal by RonSilver) steals the crook's gun and embarks on a killing spree (hecarves Megan's name on the bullets, no less!). Moreover, Hunt alsobegins dating the initially unsuspecting Turner. Director KathrynBigelow, who also co-wrote the sharp and incisive script with Eric Red,relates the compelling narrative at a constant quick pace, expertlybuilds plenty of gut-ripping tension, gives the film an attractivepolished look, and really pulls out all the stirring stops for therousing climactic shoot-out between Hunt and Turner on the streets ofNew York City. This film further benefits from fine acting by a bang-upcast: Curtis makes for a very strong and sympathetic, yet troubled andflawed heroine, Silver's cunning and charming psycho likewise sizes upas a memorably crazed and frightening villain, plus there's soundsupporting turns by Clancy Brown as tough, cynical homicide detectiveNick Mann, Elizabeth Pena as Megan's loyal friend Tracy Perez, LouiseFletcher as Megan's timid, browbeaten mother Shirley, Philip Bosco asMegan's gruff, abusive father Frank, Kevin Dunn as the stern AssistantChief Stanley Hoyt, and Richard Jenkins as cagey, sarcastic attorneyMel Dawson. Brad Fiedel's shivery, rattling score and Amir M. Mokri'sslick, striking cinematography are both excellent and effective.Granted, the story is wildly implausible, but thankfully Curtis'complex and intriguing central characterization of Meg, the hard,gritty tone, the riveting cat and mouse games between Hunt and Turner,and, most of all, Bigelow's stunning sense of pure cinematic style andpanache keep the picture on track. A taut, edgy and absorbing littlewinner.
While BLUE STEEL may look pretty silly today -- a female rookie NYC cop(Jamie Lee Curtis, no less) falls in love with a stockbroker turnedserial killer (the always sinister and suave Ron Silver) who isstalking her -- in its time, it was pretty shocking for its R-ratedviolence and the sickie overtones of the brief love affair between copand killer. The story starts out plausibly enough: Curtis confronts arobber in a convenience store, blows him to kingdom come, and Silver, acustomer, grabs the bad guy's gun, sneaks off, and begins using it onfolks at random, with the cop's name engraved on each bullet.Meanwhile, Silver starts courting the unsuspecting Curtis. Pretty soon,though, we fall into the land of implausibility, as Curtis discoversthe truth and has several tussles with the very slippery Silver. Thisall leads to a huge but goofy shootout at the end, and it would appearthe film was largely shot in New York City, a plus for any film.Directed by the gal who gave us NEAR DARK, Kathryn Bigelow, I don'tthink a male director could have given this the same sort oftwistiness. But it is still not what you would call a classic, likeDEATH WISH or THE FRENCH CONNECTION or BULLITT. If you enjoy bloodyshootings, go for it. That's why I watched it again recently. And don'tme wrong: I love Jamie Lee in almost anything, but this was not themovie for her. A young Clancy Brown appears as her boss.
De Palma didn't write this malarkey, but the scribbling dope behind"The Hitcher" did, and that probably explains this celluloid garbage.Thrillers in the 90s and 00s have been incredibly dumb, on the whole,and B.S. ranks as one of the bee-ess-iest of them all. B.S. truly isutter blue steel.A Wall Street yuppie happens to witness a shooting incident involving afemale cop, Jamie Lee Curtis, and it's all brilliant anti-logic fromthere on. Hollywood, which is basically run by yuppie-like scum,hypocritically uses a Wall Street broker yuppie to yet again suggesthow oh-so evil, evil Capitalism is. What blue steel! But at leastSilver is an okay choice to play a yuppie, which is far more than canbe said for JLC's casting as a cop, which was a blue steel decision ifI ever saw one. They might as well have cast her as a Tadjikistanibabushka. Besides, these two must be the ugliest leading couple ever(not counting Bogart and Bacall).However, the "slight" liberal leanings and the lousy casting are theleast of this movie's problems. It's the plethora of cretinous twists,and an invincible yuppie-turned-Jason that really sink this mess. B.S.is exactly what its initials suggest: illogical, absurd, annoying,far-fetched - simply a load of blue steel. We have stuff like a gunthat never runs out of ammunition, and a mere stock-broker who decidesto become a psycho-killer... well... just because he can! (They don'toffer any explanation about this, so what else am I to think here?) One particularly silly film-critic wrote that this blue-steel moviemakes hints about "violence as a tool of patriarchy". Talk about tryingto read meaning into mere B.S.! He must have written that "PoliceAcademy 3" is "a statement against right-wing oppression in a countrythat has strayed from the values it espouses", or some such blue steel.As far as violence being a "tool of patriarchy" is concerned: what aload of blue steel that is! Violence is a tool which directors likeBigelow (a woman) use to torture our poor brains with her mentalretardation, hence if anything it must be "matriarchial violence".Bigelow may have a sense of visual style, but her writing has too muchblue steel in it.Roger Ebert, that fat critic/gourmet, gave this a 3/4. Clearly, it isnever good to review a movie after you've stuffed yourself with 10pounds of buritos. What were Roger's buritos filled with? You guessedit: blue steel.
Academy Award winner Kathryn Bigelow (Hurt Locker, Point Break) co-wrote and directed Blue Steel (1989), a violent and very pretentious crime drama that loses touch with reality quite early, pushes matters to extreme levels, and by the finish has completely flown off the rails. There's plenty of action, and bold attempts to pump up the tension, but few signs of any intelligent thought, in the poorly written screenplay that incorporates nearly every trick in the book, to feature a badass female cop.Fresh out of the academy, New York City police officer Megan Turner (Jamie Lee Curtis, Halloween, True Lies) is on patrol with her partner, when she discovers a robbery occurring in a store. She confronts a man who is holding a gun on a cashier, and shoots him when he fails to put down his weapon. The robber's revolver falls on the floor, where it is secretly taken by stockbroker Eugene Hunt (Ron Silver, Timecop), who was shopping in the store.Hunt leaves the crime scene with the weapon. Lacking physical evidence, Turner is suspended, but after the mentally unbalanced Hunt kills a stranger, and leaves behind bullet casings with Megan's name scratched on them, police detective Nick Mann (Clancy Brown) has Turner reinstated with the rank of detective, so she can work the case.Firmly fixated on Megan, Hunt begins a relationship with her, while he continues to kill in her name. The movie takes a dramatic turn near the halfway point, when Hunt unexpectedly reveals himself to Turner. The remainder of the film features Turner and Mann attempting to bring Hunt to justice, as the stockbroker displays an uncanny ability to stay several steps ahead of the police.Credibility is an early casualty, as Blue Steel is built upon a series of unlikely events, that become increasingly ridiculous, as a green rookie cop with a bad attitude, almost instantaneously has the confidence of an experienced detective, and the balls to break protocol when it suits her purpose. Things get increasingly personal after Hunt reveals himself, as he zeros in on her friends and family. Turner is incapable of saving a friend from harm, but she's like a manic when she has a gun in her hand. Being able to cut loose and overplay their roles was probably a blast for Silver and Curtis, and the movie is entertaining for a while, but if reality matters, at a certain point, it all gets to be too much.Not unlike a myriad of other violent crime dramas from the era, Blue Steel entertains in a superficial and pretentious way. Featuring a female as the lead character was different for 1989, but the implausible clichÃ© heavy story, fails to make Blue Steel the groundbreaker it might have been. The film has kind of faded into obscurity, but if Jamie Lee Curtis making like Harry Callahan and administering vigilante justice sounds like fun, this is definitely a must see. Rating: 2.5 stars.
This is an incredible movie. It is the story of a psycho-killer as seenby the psycho-killer. But that isn't explained to you. You're sittingthere thinking this is simply another cop flick but then slowly, asnothing makes sense, no logic is followed, not one character acts as anormal person would act--not once, after literally hundreds, if notthousands, of these digressions from real life on earth, you eventuallyrealize that nothing is supposed to make sense. And when I say nothing,I mean not one thing. Not one action. Not one character actsrealistically not once. Do you know of that movie that scientists hadmonkeys in a zoo write once as an experiment? Well that script mademore sense than this one. Wow. Not even the extras in Blue Steel actednormally, not once. It makes as much sense to call Blue Steel a policethriller as to call The Three Stooges Meet Hercules a serious dramaabout the exploration of outer space. Have you ever seen a porno film?Surely the stupidest one in the world must make more sense than BlueSteel. Jamie Lee Curtis, Ron Silver, and the rest are as entertainingacting as ever but, wow, the houseflies I just swatted, as they wererepeatedly bouncing off my windows, were acting more logically than anycharacter in Blue Steel. I'm surprised this movie didn't lead to a newslang term for making no sense, e.g. when you see a spider spin cobwebsin your basement until you squoosh him and throw him in the trash, youshould say, "Well, so much for that Blue Steeler."
I am not sure what the title means for this movie. The first day on the job as a policeman and she has to kill a grocery store robber. That was the least of her worries. A pychopath steals the gun that was used in the robbery only to become obsessed with his heroine. Not a family movie and really not worth watching more than once. There is a lot of foul language and a whole scene of nudity.
jamie lee curtis made this b movie potboiler , with a higher budget than a usual b movie though, this played at the movie screens and did fairly well back then, and she carries the movie like the pro she is in a engaging manner. At this point she'd been a leading actress for 12 years and this one which was directed by a woman was a interesting choice. I had a friend who loved this movie so much that he named things 'blue steel'! I too enjoyed this one and if you don't overthink it and just take it as a b movie that can be slightly over the top then you will enjoy this one. However if you are not a fan of this type of b movie made on a A budget then you won't enjoy it as much as I did. The late Ron Silver who died fairly young in his early sixties a few years ago, plays the villian as a complete slimey nut and these type of people do exist in real life to be sure, I have met them. Anyways, the dvd looks decent, but this one did well enough for a blu ray release , at least with another movie. The double feature blu ray is a great idea for catalog movies and this one would fit well that way.
This is a movie about guns, two-handed combat positions, reloading,spent cartridges, gore, .44 magnums, shooting deaths in slow motion,and all that.If you liked, say, "Magnum Force," you'll love this one.There is one small problem with this slickly made cop thriller, though,and that is that it makes no sense whatever. The implausibility isapparent from the first action scene onward. Jamie Lee Curtis is arookie cop who stumbles onto a hold up in a supermarket. Curtis, by theway, although she looks just fine in every other regard, is one ofthose people like Clint Eastwood that caps simply don't sit comfortablyon, but never mind. Back to the hold up. The perp has got the fewcustomers lying face down on the floor and shivering with fear. Theperp is ordering the checkout man to give him the cash while Curtis,gun drawn, sneaks up behind him. She announces her presence and tellshim to "put the gun down," three times, very clearly. She has a bead onhim. So what does the perp do? He smirks, says something like, "I ain'there to argue with you, B****!" and swings his gun towards her. Sheturns into a human firing squad and blasts him through the window. Hisgun clatters unnoticed to the floor and Ron Silver, one of thecustomers, surreptitiously pockets it and leaves. Well, fellas andgirls, the perp's gun is not found at the scene of the shooting.Furthermore, NOBODY, not the shivering customers, not the counterman,has even SEEN the perp's gun. It is automatically assumed by all of hermale superiors at the department that she hysterically killed anunarmed man. (Maybe he was soliciting for Friends of the Earth.) And wehave the obligatory scene in which the put-upon and misunderstood copmust turn over his or her badge and gun to his or her boss.I won't go on with further examples. These impossibilities are onlythere to advance the plot, and, trust me, the plot needs advancing.First of all, I don't believe Ron Silver as a gun-loving psychotic. Iwould believe Ron Silver as a Jewish lawyer, yes, preferably AllanDershowitz, but not an escapee from the Englewood Cliffs Home forFetishists. Not that Silver does a bad job. When he pays an unannouncedvisit to Curtis's parents his eyes seem to glow with a rich hint oflunacy. Curtis isn't bad either, possibly because we already know thatshe doesn't take herself too seriously as an actress. She is brutallybut engagingly self aware. Clancy Brown begins as a nudnik homicidedetective who ridicules Curtis but then comes to love her, or at leastto like her enough to bed her. Well, I can't help myself. I'm going to mention another impossibility.Curtis is hospitalized and wants desperately to get out. She luresanother cop, a beefy one, into her room, clips him on the jaw and coldcocks him. Wait -- that's not the implausibility I'm getting at. Shethen steals the cop's uniform and it fits her rather nicely. We wouldall, I think, like to know more about the cop who lost his uniform. Forinstance, why is he wearing a shirt with bust darts? But let that gotoo. We follow Curtis as she leaves the hospital without anyone knowingabout it. She walks through the city streets. (This is New York we'retalking about.) She walks down into the subway and we realize thatSilver is following about twenty feet behind her. How did he get there?How could he know she would sneak out of the hospital? In police drag?Never mind. That's not the implausibility I was getting at either. THISis that implausibility -- she has never looked behind her and yet, inthe subway, at the moment Silver raises his gun to shoot her in theback, she whirls about and exchanges shots with him. This amounts toESP on Curtis's part and I suggest her brain would make a neat additionalong with Paul Broca's to La Musee de l'Homme in Paris.The photography is dazzling, in many ways the best part of the film,although too much use is made of neon blue in night shots. Manhattanlooks glorious from a helicopter at night, possibly because you can'tsee any people from there, just glittering skyscrapers. I wish Curtis would not have shot the no-longer dangerous Silver at theend.I mean, the poor guy had already taken three or four bullets in themovie -- par for the course for a crime thriller, true, but stillundoubtedly painful. And he's now out of bullets. And furthermore he isas nutty as a fruitcake, babbling on about "seeing the radiance," and"you were my brilliance," and screaming at the voices that torment him.I realize everyone is panting to see this maniac plugged full of mortalholes but, after all, he belongs in a psychiatric hospital not amorgue. Well, who cares? Not Kathryn Bigelow and her co-writer. This is acommercial piece and not designed to do much more than grab you by thelapels and shake you. It does that okay. It would have been nice,though, if the director, having lingered over such testosterone-richconcepts as death by gunshot, had seen fit to linger a bit longer overJamie Lee Curtis as she rolls nude from her bed after being savaged bySilver. I guess you have to be philosophical about these things.
I watched this many years ago and remembered it as an excitingthriller, when I watched it again though it felt quite dated, not toosay that it was bad, just not quite as good as I recalled.Jamie Lee Curtis plays rookie New York police officer Megan Turner;shortly after joining the force she is involved in a hold up at a supermarket where she shoots and kills the armed robber. Unfortunately forher by the time her colleagues arrive the robber's gun is no where tobe seen and her superiors question whether she over reacted and hewasn't armed at all. Of course he was, the gun vanished because Eugine,one of the customers in the store (Ron Silver), pocketed it whilenobody was looking in the confusion following the shooting.Eugine is a trader working at the stock exchange who finds that the gungives him a sense of power, as he walks home he shoots and kills apasserby and leaves a cartridge case at the scene, he has carvedMegan's name onto the case. Even though she was suspended for thesupermarket shooting she is reinstated as a detective partnered withNick Mann (Clancy Brown). Eugine takes a more personal interest in herlife too, picking her up outside her police station on a rainy day andbefriending her. Things then get even more melodramatic, when hevirtually confesses to her and she arrests him. Without evidence thepolice release him and order her to stay away from him, he howeverwon't stay away from her. As the film ends things get less and lessrealistic with several shootouts between Eugine and Megan before onefinal confrontation.The acting isn't bad but it is hardly career best either, I'd onlyrecommend this if it is on TV or in the DVD bargain bin.
It's impossible to describe this absolute disaster of a movie withoutproviding spoilers. However,let me first say that all the productionelements (cinematography, sound, editing, costuming, makeup, stunts,effects,etc.) are first rate, Curtis and Silver turn in good performancesand Kathryn Bigelow keeps things moving (which is more than she did in thesuperior "Point Break"). However, the plot elements are stupid. Forexample:WARNING: SPOILERS1. A rookie would fail to call for backup when she sees the robbery in thegrocery store.2. None of the witnesses remember seeing the robber's gun.3. The store would not have security cameras.4. Ron Silver could take a weapon as large as a 44 and leave the crime scenewithout being detected.It gets worse:5. The police task force investigating a "Son of Sam" type serial killerwould consist of just two detectives, one a rookie.5. After Curtis first apprehends Silver, homicide would fail to either order a gunpowder residue test or interrogate Silver tohear his alibi.6. After Silver kills Pena, homicide would again fail to order a gunpowdertest and forensics wouldn't search for clues at the crime scene which wouldpin it to Silver. 7. After Silver's lawyer files a restraint order against Curtis, Curtiswould not file a counter order against Silver.8. When Curtis finds Silver at her parent's house, she wouldn't have takenSilver into custody for stalking.9. When Curtis finds Silver searching for his hidden gun in thewoods, Homicide wouldn't have a search team looking for theweapon.10. After Silver's attempts on Curtis and her partner, they would not havesweeped her apartment before retiring to make love.11. Curtis shows she a crack shot, both against a target and therobber. Yet she misses Silver repeatedly when Silver is standing inthe open.What a mess and a waste of Curtis.
Rookie cop Jamie Lee Curtis becomes the target of psychopath Ron Silver inthis rather dull would-be-thriller. Curtis and Silver have absolutely nochemistry together and the silly screenplay does nothing to show off theirtalents. A cheap looking film that is dark, cold, and completely boring.Itdesperately needs a shot of adrenaline. Tiring and mundane, a film thatjustdoes not come close to working. 2 stars out of 5.
..and that's to be polite ! The thing is this kind of movies is so easy. You just pick out alunatic, a good hero, and a chase. Without any serious shadows, casesto show, or even logical reasons! I hated many things. We didn't get to know that psycho. He has nomotive to move him, or clear complex he suffers from. His murders arerandom with nothing understandable about them (he kills for killing, sowhy he thinks himself the soul mate of the cop who kills criminals?!!!). And even the lead herself; why to shoot a small time criminalthis brutal? Yes, there is a bad relationship with her dad, but thatwas the reason ?? The scene of (Ron Silver) speaking to a voice we don't hear was, withits lame directing, laughable. The repeating of showing stopped cars asmoving ones was too. But nothing can surpass the blue lighting in thepolice station; aside from being extremely artistic (as if the sun ispresent in 2 opposite places in the same time, radiating blue beams aswell ??!), that was also provocatively enigmatic as if these peoplesave the electricity and work nearly in the dark !The story got blank rounds all over it. The third act is a major oneitself. Why that evil guy became like a junkie terminator; with nobullet can affect him ! Originally how he knew that the lead ran awayfrom the hospital (despite her disguise, and the fact that he's afugitive !!). And so on with the whys and the hows. Sure still the movie's best point is its director (Kathryn Bigelow).Although this is faraway from being one of her best, and her slateisn't totally clean since she co-wrote it, but she led Â for most ofthe time Â a tense pace and steamy image. The soundtrack was betterthan the movie in many places, giving it some of the 1980s mostpreferable electronic horror. Casting (Jamie Lee Curtis) and (RonSilver) was so right, but with the wrong script. They both seemedoutwardly believable however in unbelievable events.I was board to death during the last 20 minutes (when Silver turns intoa loose monster in the streets, and Curtis is his slayer!), not caringwho will live and who will die. That sequence portrays the worst of anywriting, directing this movie has. Simply this is nothing but a blankthriller, with a bit of violence and sex to entertain. At times itlooked like a remake of Dirty Harry (1971). But it ended up as anotherslasher movie, where the evil man kills, kills, kills, then getskilled, and that's it !(Blue Steel) is as deep as its title, and as mindless as its madcharacter. It is something only to watch, but not to think about orlove watching it. I'm trying till now to believe that this was producedby (Oliver Stone) himself !