I've always noticed the straight-to-video sequels around, but never the original feature. With names like director William Lustig and actors Leo Rossi, Meg Foster and Judd Nelson playing a psycho it was only a matter of time I would eventually come around to it. "Relentless" is a formulaic hoary detective chasing serial killer presentation, which does manage to have its moments of growing unease (the first three murder scenes) and suspense (like the detectives unknowingly meeting their killer) amongst the genre clichés.
After failing to make his way into the police force, by receiving a letter in the mail explaining that he didn't pass the psychological exam. Arthur Taylor turns to serial killing to release out those frustrations, by randomly picking people out of the phone-book. On his first day working for the L.A police department, after transferring from New York; Sam Dietz is put onto the case. Where he clashes with his sardonically experienced partner in the way they go about the police investigation. The murders seem to pile up, but the evidence is lacking.
While it won't win any awards for originality, director Lustig slick handling provides competent flair, the story structure is tidy with occasional bite and the performances are capably brought across. Nelson is truly disquieting as the psychotic Taylor, bringing a wearily unstable feeling with his character's troubled past used as the film's motivation. Strangely in certain sequences his haunting appearance reminded of the killer out of the 1920's silent horror film; "The Cabinet of Dr. Caligari". Rossi is good as the brash, if cocky newcomer Sam Dietz and Robert Loggia nails it as his weathered partner. The usual shtick is there between the detectives, as they start off bumpy to eventually find mutual respect. A glowing Meg Foster is rather mesmerizing and well-meaning in her role as Mrs Dietz. The moody music score by Jay Chattaway can be overpowering, but there's a certain saucy, eeriness created that only builds upon the anxiety and tension.
A crisp looking and reasonably appealing late 80s crime thriller.
"I say this guy is seriously f****d up".
After failing to make his way into the police force, by receiving a letter in the mail explaining that he didn't pass the psychological exam. Arthur Taylor turns to serial killing to release out those frustrations, by randomly picking people out of the phone-book. On his first day working for the L.A police department, after transferring from New York; Sam Dietz is put onto the case. Where he clashes with his sardonically experienced partner in the way they go about the police investigation. The murders seem to pile up, but the evidence is lacking.
While it won't win any awards for originality, director Lustig slick handling provides competent flair, the story structure is tidy with occasional bite and the performances are capably brought across. Nelson is truly disquieting as the psychotic Taylor, bringing a wearily unstable feeling with his character's troubled past used as the film's motivation. Strangely in certain sequences his haunting appearance reminded of the killer out of the 1920's silent horror film; "The Cabinet of Dr. Caligari". Rossi is good as the brash, if cocky newcomer Sam Dietz and Robert Loggia nails it as his weathered partner. The usual shtick is there between the detectives, as they start off bumpy to eventually find mutual respect. A glowing Meg Foster is rather mesmerizing and well-meaning in her role as Mrs Dietz. The moody music score by Jay Chattaway can be overpowering, but there's a certain saucy, eeriness created that only builds upon the anxiety and tension.
A crisp looking and reasonably appealing late 80s crime thriller.
"I say this guy is seriously f****d up".