The Killer Elite

1975

Action / Crime / Thriller

126
IMDb Rating 6 10 5,599

Synopsis


Downloaded times
February 12, 2021

Director

Cast

Burt Young as Mac
James Caan as Mike Locken
Mako as Yuen Chung
Robert Duvall as Prentice Ritter 2 episodes, 2006
720p.BLU 1080p.BLU
1.11 GB
1280*720
English 2.0
NR
23.976 fps
122 min
P/S N/A / N/A
2.05 GB
1920×1080
English 2.0
NR
23.976 fps
122 min
P/S N/A / N/A

Movie Reviews

Reviewed by george_chabot 8 / 10 / 10

What would you take to sell your friend?

Entertaining and fairly gritty look at the real life undercover spooks who do the CIA's dirty work or sometimes are bought by the highest bidder. Contains some parallels to Peckinpah's greatest film THE WILD BUNCH in that it explores themes of obsolescence, integrity, loyalty, and friendship. Caan and Duvall are at the top of their game and supporting actors Burt Young, Bo Hopkins, and Gig Young lend credibility as guys who are willing to play the dirty game. Jerry Fielding score as in THE WILD BUNCH is superb. 4 out of 5 stars

Reviewed by virek213 8 / 10 / 10

Peckinpah On The CIA And Foreign Intrigue

By the mid-1970s, the career of director Sam Peckinpah had basically hit the skids. He had seen one more film of his (PAT GARRETT AND BILLY THE KID) butchered by a studio (MGM) in 1973; then, in 1974, his most overtly personal film, the admittedly ghoulish-sounding BRING ME THE HEAD OF ALFREDO GARCIA, was roundly trashed by audiences and critics alike. And on top of that, the excesses that had been plaguing him on and off for years were starting to dominate his life. Yet through all of this, he somehow managed to pull off the good when he was sober. A case in point was the action thriller THE KILLER ELITE, released near the end of 1975. In this film, James Caan portrays an employee for a CIA-sponsored offshoot group called ComTeg (Communications Integrity) who, in protecting a German political figure (Helmut Dantine), is maliciously wounded by his partner (Robert Duvall) in the leg and arm. Though his superiors in ComTeg (Arthur Hill; Gig Young) tell him that those injuries are so severe that he may never be able to walk fully again, Caan vows to get back into the game, exposing himself to strenuous rehabilitation and martial arts exercises. When Hill gives him the chance, via protecting a Japanese politician (Mako) until he can be gotten out of the country, Caan immediately grabs onto it, especially with the fringe benefit of knowing Duvall has resurfaced and is gunning for Mako on his own. The whole operation turns out to be part of an internecine battle of wills inside ComTeg between their two superiors, first resulting in a fatal confrontation at the Bethlehem Steel shipyard, and then a high-energy showdown aboard a mothballed World War II vessel in Suisun Bay involving Japanese kung-fu masters. It is easy to simply dismiss THE KILLER ELITE (which, however, shouldn't be confused with the similarly-titled, but unrelated and much more violent, 2011 film of the same name) as lesser Peckinpah, but he should still be given credit for having taken a strictly commercial property (much like his big 1972 hit THE GETAWAY), and turning it into a solid action film with some bursts of sardonic humor, plus points being made about the dirty business of the CIA at a time when the agency was being battered in the press for its foreign shenanigans and domestic spying, plus its role in covering up Watergate. He would return to this theme in his last film, 1983's THE OSTERMAN WEEKEND. Under Peckinpah's direction, both Caan and Duvall, who had appeared together before in THE GODFATHER, do solid work as the two friends set up against one another; and Hill and Gig Young (the latter of whom made for a dispassionate killer in ALFREDO GARCIA) are equally good in their bureaucratic roles. Burt Young and Bo Hopkins do good solid turns as Caan's two partners in the protection of Mako's ambitious Oriental political figure. As is typical with Peckinpah, the action scenes are shot and edited in that characteristic Peckinpah style; and the on-location cinematography by Philip Lathrop, whose credits include 1965's THE CINCINNATI KID (from which Peckinpah was unceremoniously fired), is also superb. And finally, Jerry Fielding, working with Peckinpah one final time, comes up with another iconoclastic music score that combines jazz, dissonance, and Far Eastern music elements. The end result may not have been "classic Peckinpah" (it is certainly less bloody than THE WILD BUNCH, STRAW DOGS, or ALFREDO GARCIA), but THE KILLER ELITE is still far superior to most of the ultra-violent action flicks that would follow in Peckinpah's wake.

Reviewed by lemme_caution 8 / 10 / 10

A surprising gem.

No one mentions Killer Elite when they talk about Peckinpah...maybe they should. When you think Peckinpah you think The Wild Bunch and Straw Dogs because that's all that anyone thinks is relevant about his career. A career that is fabled to have collapsed under the pressures of his excessive lifestyle and personality. It is for this reason I was surprised to find this movie in the local video store the other day. This film shows a fantastic amount of maturity about its characters as displayed through the patience with which Peckinpah walks us through the Duvall and Caan's relationship (take for instance the scene with them crossing the Golden Gate bridge...its seldom that a director takes this amount of time with dialogue that is so trivial but subtext that is so important in an indexical sort of way) and Caan's lengthy rehabilitation. The meatiest parts of this films emotional resonance is dealt with in the first act before a majority of the action. The real strength of the film is that it allows an insight not just into Duvall and Caan but the other mercenaries who are all, in one way or another, fractured people. Though I have to admit that this particular aspect of the film could have been emphasized more I think it is something that is, unfortunately, being overlooked by some of the other people who commented on this film. Another user drew a parallel between this film and the honor among thieves them at the heart of the Wild Bunch. There is a similarity between the two but to say that Peckinpah is making the same statement in both films is a bit myopic. James Caan's character is not William Holden's character. I can't help but feel though, that either more screen time or a solid R rating would have more clearly delineated the difference. One last word about this film. I have always been a giant fan of Peckinpah's editing. Wild Bunch was an orgy of (true) montage editing that would have made Eisenstien blush and Straw Dogs would be less of a movie were it not for the free associative cuts into the characters mind that can only been found in the days when American Cinema was busy dry humping the New Wave (i.e. Francis Ford Coppola's the Rain People). In Killer Elite Peckinpah is DW Griffith inspired crosscutting as Sergio Leone is to the ringing phone.

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