My review was written in March 1990 after a Greenwich Village screening.
The Iran-contra affair becomes the plot device for a farfetched and preachy co film offering Brian Dennehy an interesting star turn. Commercial prospects are bleak for this oddball Orion message picture.
Originally titled "Street Legal", "The Last of the Finest" belongs in a rarely attempted brand of pastiche film, last seen in the Watergate comedy "Nasty Habits" in which nuns led by Glenda Jackson and Geraldine Page portrayed thinly disguised members of the Nixon administration.
"Finest" is less interesting because it's one step removed. The central characters are Dennehy and his band of dedicated cops who tumble upon a bunch of corrupt characters (who parallel the Iran-contra protagonists) while working on a drug bust.
Like characters for a Don Siegel action pic (especially "Charley Varrick"), Dennehy and his loyal men Joe Pantoliano, Jeff Fahey and Bill Paxton bristle at L. A. P. D. rules and are suspended when their task force becomes overly zealous in its fight against drug trafficking. Audience immediately tumbles to the fact that higher-ups are blocking their noble cause: it's a combination of police brass and feds, working on an elaborate scheme to trade drugs for arms to supply Central American freedom fighters.
In pic's silliest plot twist, Dennehy and company too easily rip off minor drug dealers to finance their own purchase of heavy weapons to stage a three-man war against the baddies (one of Dennehy's merry men is murdered early on, as a corny motivational device). Their victory against tall odds is phony and the film's symbolism goes over the top in a climax of the drug money exploding in its cesspool hideaway, covering the baddies in excrement.
Despite the deficiencies of a script that unwisely mixes tongue-in-cheek elements with soapbox messages, Scottish director John Mackenzie keeps the pic moving and enjoyable on a strictly thriller level. Its unsubtle references to Iran-contra are more fun for film historians than action fans, leading to an ending on tv identical in purpose to the rabble-rousing conclusion of Alex Cox' similarly preachy "Walker".
Dennehy is excellent in delivering a liberal message in the form of a free-thinking independent who's tired of the expediency and greed of a system riddled with phony patriots. Guy Boyd ably leads the gang of Machiavellian villains and Aussie thesp Deborra-Lee Furness makes a good impression as Dennehy's wife.
Former Rolling Stone Mick Taylor adds punch with his guitar solos.
The Iran-contra affair becomes the plot device for a farfetched and preachy co film offering Brian Dennehy an interesting star turn. Commercial prospects are bleak for this oddball Orion message picture.
Originally titled "Street Legal", "The Last of the Finest" belongs in a rarely attempted brand of pastiche film, last seen in the Watergate comedy "Nasty Habits" in which nuns led by Glenda Jackson and Geraldine Page portrayed thinly disguised members of the Nixon administration.
"Finest" is less interesting because it's one step removed. The central characters are Dennehy and his band of dedicated cops who tumble upon a bunch of corrupt characters (who parallel the Iran-contra protagonists) while working on a drug bust.
Like characters for a Don Siegel action pic (especially "Charley Varrick"), Dennehy and his loyal men Joe Pantoliano, Jeff Fahey and Bill Paxton bristle at L. A. P. D. rules and are suspended when their task force becomes overly zealous in its fight against drug trafficking. Audience immediately tumbles to the fact that higher-ups are blocking their noble cause: it's a combination of police brass and feds, working on an elaborate scheme to trade drugs for arms to supply Central American freedom fighters.
In pic's silliest plot twist, Dennehy and company too easily rip off minor drug dealers to finance their own purchase of heavy weapons to stage a three-man war against the baddies (one of Dennehy's merry men is murdered early on, as a corny motivational device). Their victory against tall odds is phony and the film's symbolism goes over the top in a climax of the drug money exploding in its cesspool hideaway, covering the baddies in excrement.
Despite the deficiencies of a script that unwisely mixes tongue-in-cheek elements with soapbox messages, Scottish director John Mackenzie keeps the pic moving and enjoyable on a strictly thriller level. Its unsubtle references to Iran-contra are more fun for film historians than action fans, leading to an ending on tv identical in purpose to the rabble-rousing conclusion of Alex Cox' similarly preachy "Walker".
Dennehy is excellent in delivering a liberal message in the form of a free-thinking independent who's tired of the expediency and greed of a system riddled with phony patriots. Guy Boyd ably leads the gang of Machiavellian villains and Aussie thesp Deborra-Lee Furness makes a good impression as Dennehy's wife.
Former Rolling Stone Mick Taylor adds punch with his guitar solos.