I don't think I'd seen this film since it originally came out in the theater. I remember thinking it was pretty ridiculous then, but it's aged better than I'd expected, mainly thanks to it's cast, the use of actual NYC locations, and 80s action film nostalgia value. Peter Weller plays a groovy lawyer and Sam Elliott plays a renegade narcotics detective. It's a cliche ridden story of Weller and Elliott then face off against drug dealers, corrupt police officers, and other assorted low-lifes. The script by writer/director James Glickenhaus is pretty awful, but his action sequences are serviceable. In the film's favor is the fun pairing of Elliott and Weller and also the use of grimy pre-Giuliani NYC locations, including one action sequence filmed at 42nd Street in Times Square when it was still a den of go-go bars, peep shows, and adult theaters. It was certainly a good thing that Giuliani cleaned up the streets of NYC, but when it comes to movies filmed in The Big Apple, I have a fond affection for films like "The Warriors", "Maniac", "Gloria", "C.H.U.D.", "Black Caesar", "Across 110th Street", "Combat Shock", or even Glickenhaus' own "The Exterminator" which all prominently featured the seedy side of the city that never sleeps. Also in the film's favor is that it featured more mullets than any recent action film I can think of outside of "Roadhouse". Overall, "Shakedown" is a highly routine buddy cop picture to the degree of being a genre stereotype, but it has enough positives to be enjoyed by fans of these sorts of films.
39 Reviews
Silly Funny Good
damianphelps3 November 2021
A pretty fun movie to watch, a bit silly in parts and ludicrous in others, its a good entertainer.
Sam Elliot smooths his way through the film as usual and Weller, though good, is a little Robocop with some of his emotions.
Has all the elements you want from this kind of film :)
Sam Elliot smooths his way through the film as usual and Weller, though good, is a little Robocop with some of his emotions.
Has all the elements you want from this kind of film :)
Shakedown is well worth seeking out.
tarbosh220003 February 2012
Warning: Spoilers
When drug dealer Michael Jones (Brooks) shoots a corrupt cop in New York's Central Park one night, it falls on idealistic, Jimi Hendrix-loving attorney Roland Dalton (Weller) to defend him. But things get far more complicated when Dalton must team up with an undercover, unorthodox cop, Richie Marks (Elliott) to get to the truth behind all the corrupt cops, drug dealers, thugs and goons. And in a plot device later used, interestingly enough, in Night Of The Wilding (1990), the prosecutor on the Jones case is Roland's former girlfriend.
What's great about Shakedown is that it is not mindless. It has real characters in realistic settings. You grow to appreciate both Dalton and Marks. It's a legal drama but it is filled with action as well - the legal side represented by Peter Weller and the action side by Sam Elliott, who should have appeared in more movies like this. Weller makes plenty of funny faces along with his more normal interpretation of Dalton, the baby boomer attorney. Another name, Antonio Fargas shows up, but the fairly fast pace doesn't allow for him to stay around long. Richard Brooks would later be on the other side of the law on Law & Order.
Another noteworthy aspect of this movie is its excellent New York City locations. A lot of scenes were filmed on the famed 42nd street, right before the city was cleaned up. There are plenty of movie marquees on show, everything from X-rated material to movies like The Hidden (1987) and Fatal Beauty, 1987 (also starring Elliott). You can see the famous Lyric theater, among others. As part of Marks' undercover work, he hides out in a theater watching the Glickenhaus movie The Soldier, 1982 (which you can also see posters for in the lobby). It's great to see all this stuff. We're very glad it was preserved here, intentionally or not.
The seamy, New York, 80's atmosphere, along with the quality stunts, largely good acting combined with a story about adults (no stupid kids are involved) puts Shakedown way above the pack.
Featuring the tune "Lookin' For Love" by Nikki Ryder, Shakedown is well worth seeking out.
For more action insanity, please visit: comeuppancereviews.com
What's great about Shakedown is that it is not mindless. It has real characters in realistic settings. You grow to appreciate both Dalton and Marks. It's a legal drama but it is filled with action as well - the legal side represented by Peter Weller and the action side by Sam Elliott, who should have appeared in more movies like this. Weller makes plenty of funny faces along with his more normal interpretation of Dalton, the baby boomer attorney. Another name, Antonio Fargas shows up, but the fairly fast pace doesn't allow for him to stay around long. Richard Brooks would later be on the other side of the law on Law & Order.
Another noteworthy aspect of this movie is its excellent New York City locations. A lot of scenes were filmed on the famed 42nd street, right before the city was cleaned up. There are plenty of movie marquees on show, everything from X-rated material to movies like The Hidden (1987) and Fatal Beauty, 1987 (also starring Elliott). You can see the famous Lyric theater, among others. As part of Marks' undercover work, he hides out in a theater watching the Glickenhaus movie The Soldier, 1982 (which you can also see posters for in the lobby). It's great to see all this stuff. We're very glad it was preserved here, intentionally or not.
The seamy, New York, 80's atmosphere, along with the quality stunts, largely good acting combined with a story about adults (no stupid kids are involved) puts Shakedown way above the pack.
Featuring the tune "Lookin' For Love" by Nikki Ryder, Shakedown is well worth seeking out.
For more action insanity, please visit: comeuppancereviews.com
Action packed tale benefits from the three dimensional characters.
ChoiBaby26 December 1998
Director James Glickenhaus (The Soldiers, The Exterminator, McBain) has composed a reasonably well constructed thriller with the usual spectacular action sequences and an interesting plot. This time though, the strong performances from the lead stars help propel Shakedown above the usual mundane low budget films. Peter Weller (Robocop, Screamers) is excellent as Roland Dalton, a frustrated attorney who must help defend a troubled youth who has been accused of murdering a police officer. However, there is more to the scene of the crime than meets the eye...
Sam Elliot (Road House) is grand as Richie Marks, a rogue police officer who is always at the wrong place at the right time. Marks and Dalton happen to form a "buddy-buddy" type bonding, and their investigation eventually leads knee deep into a conspiracy of corruption, deceit, and murder...
Shakedown is a decent action flick with an intriguing plot with enthralling plot twists and top notch action sequences. The fist fight aboard a moving roller coaster is a highlight and the extended vehicle chase through the streets of Manhattan is another highlight.
What makes Shakedown an exceptional thriller though, is the three dimensional performances. Peter Weller is definitely the performer worth watching in Shakedown. His convincing portrayal as a tough lawyer adds an extra depth of integrity to an otherwise standard "kill or be killed" actioner. Sam Elliot has his moments too as a cynical renegade cop who helps Weller expose corruption in the police department.
Shakedown is worth watching just for the high caliber performances from both Weller and Elliot. The action scenes are worthwhile as well. The only setback though is these action sequences are used a little too sparesly. The lack of a breathtaking pace destroys an almost superior thriller. Otherwise, Shakedown is an adequate film. This movie would benefit greatly with a faster pace, but the acting from stars Weller and Elliot make Shakedown a film worth a look.
RATING: **1/2 out of ****.
Sam Elliot (Road House) is grand as Richie Marks, a rogue police officer who is always at the wrong place at the right time. Marks and Dalton happen to form a "buddy-buddy" type bonding, and their investigation eventually leads knee deep into a conspiracy of corruption, deceit, and murder...
Shakedown is a decent action flick with an intriguing plot with enthralling plot twists and top notch action sequences. The fist fight aboard a moving roller coaster is a highlight and the extended vehicle chase through the streets of Manhattan is another highlight.
What makes Shakedown an exceptional thriller though, is the three dimensional performances. Peter Weller is definitely the performer worth watching in Shakedown. His convincing portrayal as a tough lawyer adds an extra depth of integrity to an otherwise standard "kill or be killed" actioner. Sam Elliot has his moments too as a cynical renegade cop who helps Weller expose corruption in the police department.
Shakedown is worth watching just for the high caliber performances from both Weller and Elliot. The action scenes are worthwhile as well. The only setback though is these action sequences are used a little too sparesly. The lack of a breathtaking pace destroys an almost superior thriller. Otherwise, Shakedown is an adequate film. This movie would benefit greatly with a faster pace, but the acting from stars Weller and Elliot make Shakedown a film worth a look.
RATING: **1/2 out of ****.
Entertaining mindless actioner.
Hey_Sweden30 May 2013
From James Glickenhaus, director of "The Exterminator", comes this buddy flick that proves that you don't have to reinvent the wheel in order to make a solid action flick. Its characters are always watchable and its action scenes are expertly done. Glickenhaus's script is on the routine side but his execution helps to make up for that.
Peter Weller plays Roland Dalton, a public defender who takes the case of a drug dealer (Richard Brooks) who shot an undercover cop - but who apparently did it in self defense. Teaming up with a maverick detective played by Sam Elliott, he finds that the case leads to revelations about corruption in the NYC police department.
It's nice to see Weller looking like he's really having fun, and Elliott is likewise quite engaging. Weller strikes some sparks with Patricia Charbonneau, who plays a district attorney who just so happens to be an old girlfriend of Daltons'. It doesn't take long for him to submit to her charms even though he's already engaged to be married (to Gail Feinberger, played by Blanche Baker). Antonio Fargas is smooth as ever as big shot criminal Nicky Carr; Brooks and Larry Joshua are good in their supporting roles. While watching, the viewer can have a busy time playing spot the familiar face: Thomas G. Waites, Shirley Stoler, John C. McGinley, Jude Ciccolella, Vondie Curtis-Hall, Kelly Rutherford, Paul Bartel, James Eckhouse, David Proval, Harold Perrineau, William Prince and Holt McCallany all turn up.
Ultimately, this does get silly, and it doesn't tie up its loose ends well, but it's so well paced, and so undeniably exciting at times, that it sizes up as a good time for action aficionados. Among the highlights are a chase / fight Elliott has with a street thug that finishes nicely with a runaway roller coaster moment. It's also good for a look at 42nd Street when it was still in its decadent period.
Look for a theatre marquee displaying "Fatal Beauty", which also featured Elliott; a previous Glickenhaus picture, "The Soldier", can be seen playing on a movie screen.
Seven out of 10.
Peter Weller plays Roland Dalton, a public defender who takes the case of a drug dealer (Richard Brooks) who shot an undercover cop - but who apparently did it in self defense. Teaming up with a maverick detective played by Sam Elliott, he finds that the case leads to revelations about corruption in the NYC police department.
It's nice to see Weller looking like he's really having fun, and Elliott is likewise quite engaging. Weller strikes some sparks with Patricia Charbonneau, who plays a district attorney who just so happens to be an old girlfriend of Daltons'. It doesn't take long for him to submit to her charms even though he's already engaged to be married (to Gail Feinberger, played by Blanche Baker). Antonio Fargas is smooth as ever as big shot criminal Nicky Carr; Brooks and Larry Joshua are good in their supporting roles. While watching, the viewer can have a busy time playing spot the familiar face: Thomas G. Waites, Shirley Stoler, John C. McGinley, Jude Ciccolella, Vondie Curtis-Hall, Kelly Rutherford, Paul Bartel, James Eckhouse, David Proval, Harold Perrineau, William Prince and Holt McCallany all turn up.
Ultimately, this does get silly, and it doesn't tie up its loose ends well, but it's so well paced, and so undeniably exciting at times, that it sizes up as a good time for action aficionados. Among the highlights are a chase / fight Elliott has with a street thug that finishes nicely with a runaway roller coaster moment. It's also good for a look at 42nd Street when it was still in its decadent period.
Look for a theatre marquee displaying "Fatal Beauty", which also featured Elliott; a previous Glickenhaus picture, "The Soldier", can be seen playing on a movie screen.
Seven out of 10.
Engaging action movie with good characters
Mr-Fusion2 May 2018
"Shakedown" seems to fancy itself a buddy movie even though its public defender and police officer heroes work separately for most of it. And it dances between courtroom drama and cop action movie (with an emphasis on eyebrow-raising stunts), so tonally it's kind of all over the place.
Yet, in the grand scheme of things, that ends up working for this movie because I liked the two leads. Peter Weller's legal angst, the overall '80s-ness and all of the macho dialogue come together into an entertaining movie. And it's a New York that you can almost feel, from the fashionable end to the Times Square cesspool.
7/10
Yet, in the grand scheme of things, that ends up working for this movie because I liked the two leads. Peter Weller's legal angst, the overall '80s-ness and all of the macho dialogue come together into an entertaining movie. And it's a New York that you can almost feel, from the fashionable end to the Times Square cesspool.
7/10
80s action flick, buddy comedy and a courtroom drama package
simonesecci29 April 2020
It's an enjoyable action flick overall.
However it's also a buddy comedy and a courtroom drama quickly whisked together and served in one massive high protein shake.
And that's its biggest downfall.
Don't get me wrong I deeply enjoy the mindless entertainment of 80s "tough policemen" movies but the usual straightforwardness of a Schwarzenegger or a Stallone is lost here.
An amazing cast (Sam Elliott, Peter Weller and Patricia Charbonneau) which would have done really well in any high budget Hollywood production, gets involved in all kinds of extravagant and adrenalin inducing events while distilling great acting throughout and keeping up with the highly energetic pace set by director James Glickenhaus.
Not cohesive but if you're a fan of Lethal Weapon, 48 hrs or Tango and Cash it will serve you well.
OK action flick
culwin30 August 2000
Another buddy-action movie, but this time it's a lawyer and a cop. Nothing original here, but plenty of action and an interesting plot will keep you watching. Ending was ok, but it could have been much better. Good for watching when you've already seen all the Die Hards and Lethal Weapons. 6 1/2 out of 10. Can you spot the subtle references to other Glickenhaus movies like The Soldier and Exterminator?
Violent film about police corruption and trials , being starred by two good actors
ma-cortes11 January 2015
In a town where everyone is for sale , they're the best that money can buy . A legal attorney (Peter Weller) and a renegade cop (Sam Elliot) join forces to stop corrupt cops and against street scum . The overworked lawyer and the undercover cop team up but find serious difficulties from other corrupt police inspectors (Thomas G Waites) , a drug lord (Antonio Fargas) , dope dealers , and various street scum . Dalton's life is further complicated by the fact that his girlfriend (Blanche Baker) is pregnant and the prosecuting attorney (Patricia Charbonneau) is a prior lover ; then taking place the classic triangular drama .
This thriller movie contains suspense , noisy action-packed with no much sense , intrigue, and thrills galore . It's a brutal and controversial urban film plenty of car crashes , pursuits , trials , police corruption and many other things . Sam Elliot with his usual stoic acting displays efficiently his weapon , Magnum 44 , such as ¨Harry the Dirty¨ and killing mercilessly nasties . It's certainly exciting , though the morality may be questionable , even in this time, as the spectators were clearly on the Sam Elliott side . The movie provides fast and furious entertainment and action with no sense developing with agility , fast paced and movement . This thrilling story looks increasingly passionless and mechanical , though violence sometimes seems to be considered excessive . Nice acting by Sam Elliot as a renegade loner NYPD narcotics agent and Peter Weller as an obstinate advocate at law . Furthermore, it appears a great secondary cast full of known faces with brief interventions , such as Thomas G Waites , Paul Bartel as Night Court Judge , James Eckhouse , Holt McCallany , Kelly Rutherford , David Proval ,John Finn , William Prince , Harold Perrineau ,Shirley Stoler and John C. McGinley . Mediocre cinematography by John Lindley , though he subsequently photographed Field of dreams , You've a e-m@il (1998) , Pleasantville , Mr Brooks and other hits . Screeching and pulsing musical score by Jonathan Elias .
This moving motion picture in low budget was middlingly directed by James Glickenhaus , being born in New York City where he usually shoots his movies . Glickenhaus served as the chairman for the film company SGE Entertainment from 1987 to 1995; this company specialized in both making and distributing low-budget independent straight-to-video fare. He's an expert on violent action movies and so-so films as proved in ¨McBain¨, ¨The soldier¨ and this ¨Shakedown¨ . He's also directed a Jacke Chan vehicle titled ¨The protector¨ , the eerie thriller "Slaughter of the Innocents," and the attractive sci-fi romp "Timemaster¨ and of course the extremely violent , low-budgeted and successful 1980 movie , ¨The exterminator¨ , a cruel Vigilante drama . And James was the executive producer for the movies "Maniac Cop," "Frankenhooker," both "Basket Case" sequels, "Ring of Steel," and "Tough and Deadly" . Rating : Average , 5,5/10 but entertaining .
This thriller movie contains suspense , noisy action-packed with no much sense , intrigue, and thrills galore . It's a brutal and controversial urban film plenty of car crashes , pursuits , trials , police corruption and many other things . Sam Elliot with his usual stoic acting displays efficiently his weapon , Magnum 44 , such as ¨Harry the Dirty¨ and killing mercilessly nasties . It's certainly exciting , though the morality may be questionable , even in this time, as the spectators were clearly on the Sam Elliott side . The movie provides fast and furious entertainment and action with no sense developing with agility , fast paced and movement . This thrilling story looks increasingly passionless and mechanical , though violence sometimes seems to be considered excessive . Nice acting by Sam Elliot as a renegade loner NYPD narcotics agent and Peter Weller as an obstinate advocate at law . Furthermore, it appears a great secondary cast full of known faces with brief interventions , such as Thomas G Waites , Paul Bartel as Night Court Judge , James Eckhouse , Holt McCallany , Kelly Rutherford , David Proval ,John Finn , William Prince , Harold Perrineau ,Shirley Stoler and John C. McGinley . Mediocre cinematography by John Lindley , though he subsequently photographed Field of dreams , You've a e-m@il (1998) , Pleasantville , Mr Brooks and other hits . Screeching and pulsing musical score by Jonathan Elias .
This moving motion picture in low budget was middlingly directed by James Glickenhaus , being born in New York City where he usually shoots his movies . Glickenhaus served as the chairman for the film company SGE Entertainment from 1987 to 1995; this company specialized in both making and distributing low-budget independent straight-to-video fare. He's an expert on violent action movies and so-so films as proved in ¨McBain¨, ¨The soldier¨ and this ¨Shakedown¨ . He's also directed a Jacke Chan vehicle titled ¨The protector¨ , the eerie thriller "Slaughter of the Innocents," and the attractive sci-fi romp "Timemaster¨ and of course the extremely violent , low-budgeted and successful 1980 movie , ¨The exterminator¨ , a cruel Vigilante drama . And James was the executive producer for the movies "Maniac Cop," "Frankenhooker," both "Basket Case" sequels, "Ring of Steel," and "Tough and Deadly" . Rating : Average , 5,5/10 but entertaining .
So audacious you can't help but love it.
mark.waltz19 August 2021
Warning: Spoilers
The ever changing Times Square is at its sleaziest in this delightfully over the top crime drama where a private club right inside the New Amsterdam Theater, post Ziegfeld Follies and pre Lion King reconstruction. This is the type of club where the wrong guest gets electrocuted while receiving a massage which leads to a chase down the West Side Highway where the psycho killer is shooting at everything while driving a stolen cop car. He earlier got arrested by cop Sam Neill while preparing to trade sex for drugs for an obviously strung out white woman whose screams are heard as he is taken away without providing her much needed fix. Along with him is the head of this ring played by character actor Antonio Fargas who just reeks of sleazieness in the way he acts out this character, just as he did as Angie's father on "All My Children". The shot of a bus advertising "Starlight Express" is another amusing metaphor.
Give up all sense of reality as Neill and public defense Peter Weller take on the mob here with plenty of violence and ironic humor, and a conclusion in light of events 13 years later quite frightening and prophetic. Weller is defending a young pusher for killing an undercover cop, and this means dealing with the worst of New York City late 80's society. Normally I would give films like this a lower rating but I was so entertained and riveted that I couldn't help but thoroughly enjoy it. Neill and Weller are a great team here, and I am surprised that they didn't attempt a sequel. The soap opera story surrounding his marital issues is completely inconsiquential.
"On the streets of this city, you are the law, but on the steps of this court, I am the law." So says the glamorous Augusta Dabney as the judge in the trial, a very popular soap actress for 35 years, and the wife of William Prince, a veteran character actor who has a bit part in this film. It's nice to see her in such a commanding part after playing the wealthy but gentle matriarch Isabelle Alden on "Loving". In a bit part, veteran stage and screen character actress Shirley Stoler (an actress I presumed was unable to smile) manages a charming smirk when Weller amuses her as he tries to enter the Tombs. This is a film you won't soon forget, especially with the plane ride over lower Manhattan that isn't without its danger.
Give up all sense of reality as Neill and public defense Peter Weller take on the mob here with plenty of violence and ironic humor, and a conclusion in light of events 13 years later quite frightening and prophetic. Weller is defending a young pusher for killing an undercover cop, and this means dealing with the worst of New York City late 80's society. Normally I would give films like this a lower rating but I was so entertained and riveted that I couldn't help but thoroughly enjoy it. Neill and Weller are a great team here, and I am surprised that they didn't attempt a sequel. The soap opera story surrounding his marital issues is completely inconsiquential.
"On the streets of this city, you are the law, but on the steps of this court, I am the law." So says the glamorous Augusta Dabney as the judge in the trial, a very popular soap actress for 35 years, and the wife of William Prince, a veteran character actor who has a bit part in this film. It's nice to see her in such a commanding part after playing the wealthy but gentle matriarch Isabelle Alden on "Loving". In a bit part, veteran stage and screen character actress Shirley Stoler (an actress I presumed was unable to smile) manages a charming smirk when Weller amuses her as he tries to enter the Tombs. This is a film you won't soon forget, especially with the plane ride over lower Manhattan that isn't without its danger.
The best cops that money can buy ............
merklekranz1 August 2010
Completely contrived police corruption plot but Sam Elliott and Peter Weller do the best that could be expected under the circumstances. This almost seems like the roller coaster scene and the plane finale were thought up, and then connected somehow with the cartoon like script. Character development beyond Elliott and Weller is sketchy. The entire cops on the drug dealers payroll scenario is exploited way beyond what might make sense. The night shots on 42nd street are terrific, but you simply cannot take "Shakedown" seriously, and with each passing scene things deteriorate as believability flies out the window. The movie has some entertainment value, but do not expect much beyond stunt work and crashes. - MERK
Very fun yet dark action flick
duklec7 March 2019
The movie follows Peter Weller who plays an attorney tasked with defending a crack dealer who shot a corrupt police officer in self defense. He goes to his friend in the NYPD, played by Sam Elliot, to unravel a deep web of conspiracy and corruption within the NYPD. In the meantime, Weller is caught in a love triangle between his fiancé and ex-girlfriend.
Weller does a decent job as well as Sam Elliot, but the star of the movie was 1980s New York City. It's decadent and gritty landscape make for some great atmosphere and over-the-top action involving hit men, drug dealers, and one of the most beautiful Porsche 930 Turbos you would ever lay eyes on. Action sequences, when they occur, are thrilling and fun.
Alas, the love-triangle scenes keep the sequences spaced out, so things can seem kind of slow. Those scenes really feel more like padding rather than essential to the plot. Still, it's a movie I enjoy watching time and time again. I know the gentrification of New York by Giuliani in the 90s made it cleaner and safer, but it also stripped the soul of 70s and 80s New York and turned it into a lifeless shell of a city you can find just about anywhere else in the US. It's always nice to see old school NYC encapsulated whenever possible.
All in all, I love this movie. No, it's not the most deep or meaningful movie, and the supporting actors turn out some pretty cheesy moments (like a group of cops circling around Weller and then just walking away), but the dark and gritty atmosphere gives it life and is a fun movie to just sit back and relax to.
Weller does a decent job as well as Sam Elliot, but the star of the movie was 1980s New York City. It's decadent and gritty landscape make for some great atmosphere and over-the-top action involving hit men, drug dealers, and one of the most beautiful Porsche 930 Turbos you would ever lay eyes on. Action sequences, when they occur, are thrilling and fun.
Alas, the love-triangle scenes keep the sequences spaced out, so things can seem kind of slow. Those scenes really feel more like padding rather than essential to the plot. Still, it's a movie I enjoy watching time and time again. I know the gentrification of New York by Giuliani in the 90s made it cleaner and safer, but it also stripped the soul of 70s and 80s New York and turned it into a lifeless shell of a city you can find just about anywhere else in the US. It's always nice to see old school NYC encapsulated whenever possible.
All in all, I love this movie. No, it's not the most deep or meaningful movie, and the supporting actors turn out some pretty cheesy moments (like a group of cops circling around Weller and then just walking away), but the dark and gritty atmosphere gives it life and is a fun movie to just sit back and relax to.
It's for Peter Weller and Sam Elliot fans
PredragReviews6 April 2017
The story is goofy but enjoyable and also disjointed. Weller is a legal aid lawyer about to sell out to Wall Street because he is marrying money, and Elliott is an honest cop living in a theater who is estranged from his wife. Weller and Elliott know each other - they are friends with a history, it seems - but why that is the case is never explained. They actually have good chemistry together. Weller catches a case where his client is innocent of murdering a cop; the client is a drug dealer who shot the dishonest cop in self- defense. Elliott works with the same band of dishonest cops that this cop belonged to. Somehow these cops are involved with a gangster - an African-American hip gangster because it is the '80s - who they initially raid but later they work with for no reason that is ever explained. When action is required, the bad guys open fire on innocent bystanders and explosions ensue with no concern for the safety of anyone.
The story line is disjointed. There are leaps of story-telling, e.g., why does Weller think it is such a brilliant idea to break into the police headquarters rather than asking Elliott to get the evidence? Who knows, it just happens. And how does ripping some wires off the back of a roller coaster cause it to jump the tracks? Again, stuff just happens. Peter Weller delivers a great role as a lawyer defending a young black drug dealer who was attacked by an off duty police officer because of the kids skin color. Shows a twist of corrupt cops and racism at it finest.
Overall rating: 7 out of 10.
The story line is disjointed. There are leaps of story-telling, e.g., why does Weller think it is such a brilliant idea to break into the police headquarters rather than asking Elliott to get the evidence? Who knows, it just happens. And how does ripping some wires off the back of a roller coaster cause it to jump the tracks? Again, stuff just happens. Peter Weller delivers a great role as a lawyer defending a young black drug dealer who was attacked by an off duty police officer because of the kids skin color. Shows a twist of corrupt cops and racism at it finest.
Overall rating: 7 out of 10.
By the Numbers
rmax30482321 February 2007
Warning: Spoilers
It starts off with an interesting if already familiar problem: How do we dig out corruption in the NYPD when there is so much crack money floating around? In "Serpico" a Brooklyn narc hijacks the hero off the street and threatens him, saying, "This is serious money." That's the milieu we find ourselves in here.
Peter Weller is a nobody Legal Aid lawyer trying to get his drug-dealing client off because the suspect actually killed in self defense. An undercover cop tried to rip off his drugs and cash in Central Park, shooting him in the process. The opposing prosecutor is Weller's ex-lover, Patricia Charbonneau. Weller enlists the aid of an undercover friend of his, Sam Elliot, in trying to uncover the truth.
The questions addressed are important, and the script sounds literate for the first half hour. Someone went to the trouble of ferreting out apt quotes about justice from the New Testament. But after that it goes downhill fast. It's as if somebody had handed in a decent and thoughtful script about the characters, then another party had taken the script and doctored it, putting in a quote from Dirty Harry (twice), a shootout in what looks like Times Square, a funny car chase through the streets of New York (twice), wisecracks in times of mortal danger ("You drive, I'll shoot."), and finally a rip off of a physically impossible feat from Schwarzenegger's "Commando." Too bad. Charbonneau and Weller are well matched, each with prominent bony facial features. Charbonneau sounds like Sondra Locke if you close your eyes. Sam Elliot is reliable too, and he demonstrates his range here. At one end, he can lower his face then cock it over his shoulder at someone and offer sage advice with a smirk and a baritone. At the other end, he can chuckle. Peter Weller I've always liked, though he shows his limitations as an actor here. Whatever prompted him to pursue a Master's degree in, what?, Ancient Civilizations? And then look for positions as Adjunct Professor at places like Franklin and Marshall and Syracuse University? (I've got it. He needed the money a part-time teacher makes!) Whatever his motives, I admire him for his intellectual curiosity. Weller's character is no invincible superhero either. When somebody holds a gun to his head he's scared to death and tells them what they want to know.
Notwithstanding all that, this isn't a movie designed to appeal to grown ups. There's no point in listing the plot loopholes or loose ends. The evil people are plain evil. The good people are plain good. There's none of the ambiguity of real life. One can only wonder what a yeoman director like Don Seagal or Sidney Lumet might have done with material like this.
Peter Weller is a nobody Legal Aid lawyer trying to get his drug-dealing client off because the suspect actually killed in self defense. An undercover cop tried to rip off his drugs and cash in Central Park, shooting him in the process. The opposing prosecutor is Weller's ex-lover, Patricia Charbonneau. Weller enlists the aid of an undercover friend of his, Sam Elliot, in trying to uncover the truth.
The questions addressed are important, and the script sounds literate for the first half hour. Someone went to the trouble of ferreting out apt quotes about justice from the New Testament. But after that it goes downhill fast. It's as if somebody had handed in a decent and thoughtful script about the characters, then another party had taken the script and doctored it, putting in a quote from Dirty Harry (twice), a shootout in what looks like Times Square, a funny car chase through the streets of New York (twice), wisecracks in times of mortal danger ("You drive, I'll shoot."), and finally a rip off of a physically impossible feat from Schwarzenegger's "Commando." Too bad. Charbonneau and Weller are well matched, each with prominent bony facial features. Charbonneau sounds like Sondra Locke if you close your eyes. Sam Elliot is reliable too, and he demonstrates his range here. At one end, he can lower his face then cock it over his shoulder at someone and offer sage advice with a smirk and a baritone. At the other end, he can chuckle. Peter Weller I've always liked, though he shows his limitations as an actor here. Whatever prompted him to pursue a Master's degree in, what?, Ancient Civilizations? And then look for positions as Adjunct Professor at places like Franklin and Marshall and Syracuse University? (I've got it. He needed the money a part-time teacher makes!) Whatever his motives, I admire him for his intellectual curiosity. Weller's character is no invincible superhero either. When somebody holds a gun to his head he's scared to death and tells them what they want to know.
Notwithstanding all that, this isn't a movie designed to appeal to grown ups. There's no point in listing the plot loopholes or loose ends. The evil people are plain evil. The good people are plain good. There's none of the ambiguity of real life. One can only wonder what a yeoman director like Don Seagal or Sidney Lumet might have done with material like this.
Both good and bad things here
Wizard-89 October 2014
Since its theatrical release, "Shakedown" has all but been forgotten by the public. Having just watched it again after more than twenty five years since I first saw it, I think I know why it has faded into obscurity. Don't get me wrong, it's not a terrible movie. For starters, it looks great, with expert cinematography and lighting despite being made with a somewhat conservative budget. And director James Glickenhaus, like in his other movies, definitely shows he can direct action - the action scenes in this movie are very well done.
But a closer look at the movie soon reveals some big flaws. While Sam Elliot shows his trademark weary charm and makes his character appealing, his co-star Peter Weller doesn't fare so well. Weller is kind of stiff, maybe because his character is eventually made to be not so likable despite being in a lead protagonist position. The screenplay (also by Glickenhaus) is also kind of a mess, with important characters disappearing for long periods of time, as well as the central story moving extremely slowly (or not at all) for equally long periods of time.
Is the movie worth seeing? In some circumstances, yes. If you actively seek it out and/or pay good money to see it, chances are you'll be disappointed. But if it crosses your path during a slow day for free, you'll probably find it helps pass the time in an acceptable manner.
But a closer look at the movie soon reveals some big flaws. While Sam Elliot shows his trademark weary charm and makes his character appealing, his co-star Peter Weller doesn't fare so well. Weller is kind of stiff, maybe because his character is eventually made to be not so likable despite being in a lead protagonist position. The screenplay (also by Glickenhaus) is also kind of a mess, with important characters disappearing for long periods of time, as well as the central story moving extremely slowly (or not at all) for equally long periods of time.
Is the movie worth seeing? In some circumstances, yes. If you actively seek it out and/or pay good money to see it, chances are you'll be disappointed. But if it crosses your path during a slow day for free, you'll probably find it helps pass the time in an acceptable manner.
Manages to be daft and serious
Bezenby28 October 2013
Hey! It's Robocop versus Huggy Bear, with Sam Elliot backing Peter Weller up. When a dodgy undercover cop tries to rob and kill a crack dealer and ends up getting ventilated, it's up to legal aid guy Peter Weller to get him freed. He's got many problems, however. The dodgy cop has loads of equally dodgy bad cop mates willing to cover up for him, and the prosecution lawyer type person is his ex-girlfriend. And he's engaged to be married to a woman who doesn't like Jimi Hendrix! What's a Robocop turned robo lawyer to do? Luckily, he's got Sam Elliot, a straight cop, on his side. Between them, they're going to clean up New York City of all crooked cops and crack dealers (with the exception of the crack dealer Weller's trying to free from prison).
This film is kind of all over the place, what with Weller's marital problems and those bad cops breathing down his neck. He's also got Huggy Bear (Night of the Sharks) trying to set both him and Ellot up to be killed, which leads to all sorts of action sequences that so increasingly ridiculous you'll be wondering which one to pick as the daftest moment in the film. Sam Elliott jumping from a fourth floor window onto a bus? Elliot having a punch up on a roller-coaster? Or how about Elliott attacking an aeroplane by jumping onto it's front wheel and shooting wildly while dangling in the air? That part was pretty stupid, and looked a bit rushed too, as if they were trying to keep the running time down a bit.
That said, it's moments like those above that keep the film going, or else we'd be bogged down in legal procedure and Weller cheating on his fiancé. Weller and Elliott are both pretty good leads so that helps too.
Also starring John C McGinley of "every film made from 1986-1990" fame
This film is kind of all over the place, what with Weller's marital problems and those bad cops breathing down his neck. He's also got Huggy Bear (Night of the Sharks) trying to set both him and Ellot up to be killed, which leads to all sorts of action sequences that so increasingly ridiculous you'll be wondering which one to pick as the daftest moment in the film. Sam Elliott jumping from a fourth floor window onto a bus? Elliot having a punch up on a roller-coaster? Or how about Elliott attacking an aeroplane by jumping onto it's front wheel and shooting wildly while dangling in the air? That part was pretty stupid, and looked a bit rushed too, as if they were trying to keep the running time down a bit.
That said, it's moments like those above that keep the film going, or else we'd be bogged down in legal procedure and Weller cheating on his fiancé. Weller and Elliott are both pretty good leads so that helps too.
Also starring John C McGinley of "every film made from 1986-1990" fame
Silly action scenes take the shine off a gritty NYC thriller
maxwellsnake242 October 2020
A previous reviewer of this movie on imdb commented on how the solemn nature of the dramatic scenes detracted from the high octane action scenes in 'Shakedown' a.k.a blue jean cop. I believe the opposite to be true and cringed whenever the absorbing and gritty dramatic scenes gave way to silly, sub rambo action setpieces. Without the aforementioned flights of fancy (pun intended), 'Shakedown' could have an been an edgy cult favourite,along the lines of Sidney lumet's 'prince of the city' or Abel ferrara's 'king of new york'. instead, James glickenhaus's movie ultimately resembles nothing more than a run of the mill,late 80's, straight to video action flick albeit one with a interesting premise and tons of unfulfilled potential. Shame.
Ridiculous but still fun
pmtelefon24 February 2019
"Shakedown" is an over-the-top action movie. I don't know which scene is the most ridiculous. But despite all of the silliness, it's quite watchable. It's not a campy movie (at least I don't watch it that way). It's just a lot of fun. Peter Weller and Sam Elliot make a great team. The villains are caricatures but they are all played well. The stunt work is terrific. The only real negative in "Shakedown" is the ending. It's a bit too much. I saw this movie when it first came out at Douglaston, NY's Movie World. I liked it then and I still like it now.
Crazy Action Blurs Decent Movie
georgewilliamnoble18 August 2017
A routine cop action thriller that has a split personality in that it develops a more than decent multi layer story, only to throw in some Perry Mason court room intrigue interspersed with several every more entertaining but outrageous action fill up's that seem to belong to another movie.In the end there are just to many plot holes and sub plots going on, a little discipline would of made for a better film. But, for all of these irritants, this is still entertaining fair, if ultimately rather shallow.A easy going 6 from 10, I'm in a good mood!
80s tackiness with added soap opera..with swearing
harrymccormack198113 November 2011
Warning: Spoilers
I purchased this film under the title "Blue Jean Cop" and the police corruption storyline is a genre that interests me particularly in the film Q&A and countless others.
Peter Weller stars as a defence attorney with idealistic values defending a drug dealer who killed an undercover cop in self-defence. The victim happened to be a "blue jean cop" - an apparent corrupt policeman who makes dirty money by stealing from drug dealers. This opens a can of worms when investigated further by Weller and he teams up with veteran cop Sam Elliott to bust the corruption and win his case.
It all sounds interesting in theory but the way the film was delivered was all over the place. Side stories includes Weller being on his last case before a move upwards on his career in his father-in-law to be's firm. Then there's the old girlfriend scenario with the prosecutor, having an affair despite having a fiancée and looking for a new house blah blah blah. It was like an over-the-top soap opera with swearing.
And add to this the corrupt cops and their shenanigans working with the local crime boss to prevent cover-up being blown. These scenes were like bad comedy especially with the over-the-top vulgarness to demonstrate that these guys were "bad".
I'm a sort of man who usually watches the film in its entirety even if I feel it's a bit rotten. Despite it being only 90 minutes long the last half hour drags on and ironically has a very brief epilogue to counteract it.
I would avoid this unless you have company and fancy a cheap laugh at the film's 1980s tackiness with mullet hairstyles and noisy ghetto-blasters amongst the so-called drama.
Peter Weller stars as a defence attorney with idealistic values defending a drug dealer who killed an undercover cop in self-defence. The victim happened to be a "blue jean cop" - an apparent corrupt policeman who makes dirty money by stealing from drug dealers. This opens a can of worms when investigated further by Weller and he teams up with veteran cop Sam Elliott to bust the corruption and win his case.
It all sounds interesting in theory but the way the film was delivered was all over the place. Side stories includes Weller being on his last case before a move upwards on his career in his father-in-law to be's firm. Then there's the old girlfriend scenario with the prosecutor, having an affair despite having a fiancée and looking for a new house blah blah blah. It was like an over-the-top soap opera with swearing.
And add to this the corrupt cops and their shenanigans working with the local crime boss to prevent cover-up being blown. These scenes were like bad comedy especially with the over-the-top vulgarness to demonstrate that these guys were "bad".
I'm a sort of man who usually watches the film in its entirety even if I feel it's a bit rotten. Despite it being only 90 minutes long the last half hour drags on and ironically has a very brief epilogue to counteract it.
I would avoid this unless you have company and fancy a cheap laugh at the film's 1980s tackiness with mullet hairstyles and noisy ghetto-blasters amongst the so-called drama.
gritty crime drama plus some ridiculous action
SnoopyStyle3 December 2023
Drug dealer Michael Jones (Richard Brooks) is accused of killing police officer Patrick O'Leary in Central Park. Public defender Roland Dalton (Peter Weller) receives the case in his last week at legal aid. He's going to work for his girlfriend Gail Feinberger's father on Wall Street. He's facing off against his ex and new ADA Susan Cantrell (Patricia Charbonneau). Michael claims that Patrick, a blue jean cop, was robbing him. Roland gets help from his friend, renegade narcotics cop Richie Marks (Sam Elliott).
It's a simple case of police corruption. Weller is good although he's still more a cop than a lawyer to me. Sam Elliott is nothing less than the loner wolf cop. Richard Brooks has one or two great scenes. The movie does this gritty realism, but it keeps adding these outrageous action scenes. When the chase to the court house happens, that incident ends something ridiculous, but that's not the worst of it. Sam Elliott goes over the top for the win. I don't think those ridiculous scenes fit the rest of the movie. Otherwise, this is a good crime drama.
It's a simple case of police corruption. Weller is good although he's still more a cop than a lawyer to me. Sam Elliott is nothing less than the loner wolf cop. Richard Brooks has one or two great scenes. The movie does this gritty realism, but it keeps adding these outrageous action scenes. When the chase to the court house happens, that incident ends something ridiculous, but that's not the worst of it. Sam Elliott goes over the top for the win. I don't think those ridiculous scenes fit the rest of the movie. Otherwise, this is a good crime drama.
"Serpico" and "Prince of the City" did it a lot better
view_and_review28 February 2020
Warning: Spoilers
Shakedown: noun--extortion, as by blackmail or threats of violence.
The NYPD come upon a crime scene in which a plainclothes police officer is dead and a drug dealer named Michael Jones (Richard Brooks) is shot. It looks like a clear case of a drug dealer shooting an officer to avoid arrest. Looks can be deceiving. And looks are especially deceiving in this movie where just about all the police are dirty to some degree. "Shakedown" would have you believe the entire NYPD was on the drug dealers' payroll. Michael Jones's defense attorney, Roland Dalton (Peter Weller), is out to prove that his client acted in self-defense.
This ill-conceived movie took place in the courtroom and on the streets. While Roland was in the courtroom trying to defend his client Officer Richie Marks (Sam Elliott) was in the streets trying to bring down corrupt cops.
"Shakedown" shunned brilliant police work and shrewd lawyering for brazen gun battles and explosions. What little good it had going for it went up in flames in the climactic scene.
As the dirtiest cop and biggest drug dealer were getting away in a private jet, Roland and Richie chased them down the tarmac in a 911 Porsche. The Porsche caught up to them-- which was unlikely even as fast as it is. Instead of Officer Marks shooting out the tires or shooting some other crucial part of the jet before it took off, he jumps from the speeding car onto the landing gear of the plane.
The plane lifted off conveniently leaving the landing gear down for the hero cop to stay perched on. Then, high in the air above the skyscrapers of the New York skyline, hero cop starts shooting out one of the plane's engines while also throwing a live grenade into the cockpit. The jet, now disabled, begins to descend in order to safely land. Their descent brings them only feet above the Hudson river for hero cop to hop off safely into the water. Once hero cop is in the river, the plane lands and then explodes.
I can't even express how ghastly ludicrous this scene is. It offends every sensibility within me. Scenes like this say to the audience, "You are all morons and let me show you how moronic you are."
The NYPD come upon a crime scene in which a plainclothes police officer is dead and a drug dealer named Michael Jones (Richard Brooks) is shot. It looks like a clear case of a drug dealer shooting an officer to avoid arrest. Looks can be deceiving. And looks are especially deceiving in this movie where just about all the police are dirty to some degree. "Shakedown" would have you believe the entire NYPD was on the drug dealers' payroll. Michael Jones's defense attorney, Roland Dalton (Peter Weller), is out to prove that his client acted in self-defense.
This ill-conceived movie took place in the courtroom and on the streets. While Roland was in the courtroom trying to defend his client Officer Richie Marks (Sam Elliott) was in the streets trying to bring down corrupt cops.
"Shakedown" shunned brilliant police work and shrewd lawyering for brazen gun battles and explosions. What little good it had going for it went up in flames in the climactic scene.
As the dirtiest cop and biggest drug dealer were getting away in a private jet, Roland and Richie chased them down the tarmac in a 911 Porsche. The Porsche caught up to them-- which was unlikely even as fast as it is. Instead of Officer Marks shooting out the tires or shooting some other crucial part of the jet before it took off, he jumps from the speeding car onto the landing gear of the plane.
The plane lifted off conveniently leaving the landing gear down for the hero cop to stay perched on. Then, high in the air above the skyscrapers of the New York skyline, hero cop starts shooting out one of the plane's engines while also throwing a live grenade into the cockpit. The jet, now disabled, begins to descend in order to safely land. Their descent brings them only feet above the Hudson river for hero cop to hop off safely into the water. Once hero cop is in the river, the plane lands and then explodes.
I can't even express how ghastly ludicrous this scene is. It offends every sensibility within me. Scenes like this say to the audience, "You are all morons and let me show you how moronic you are."
Totally underrated
jellopuke28 May 2018
There's a weird tonal shift in this movie where the Peter Weller stuff is a well done legal thriller about defending a bad man and the Sam Elliot stuff is a totally over the top action movie with crazy stunts, car chases and shoot outs. But you know what? In a crazy way it works! With a balls out insane ending that makes no sense whatsoever I had a lot of fun. It was very competently made and acted and is well worth tracking down.
Shake up but not so much a shake down
jordondave-2808525 October 2023
(1988) Shakedown
ACTION/ CRIME DRAMA/ COMEDY
After the partner movies took off because of the "Lethal Weapon" films, more copycats kept coming out including this one in which never-before-seen action sequences is built around an forgettable story line and unfunny comedy sequences. Co-written and directed by James Glickenhaus starring Peter Weller as the lawyer, Roland Dalton exposing dirty cops, and Sam Elliot as the hard nosed cop, Richie Marks. The plot device of this film is like seeing a lot of other films except that the only thing this film has as opposed to the other ones are the innovative action scenes.
After the partner movies took off because of the "Lethal Weapon" films, more copycats kept coming out including this one in which never-before-seen action sequences is built around an forgettable story line and unfunny comedy sequences. Co-written and directed by James Glickenhaus starring Peter Weller as the lawyer, Roland Dalton exposing dirty cops, and Sam Elliot as the hard nosed cop, Richie Marks. The plot device of this film is like seeing a lot of other films except that the only thing this film has as opposed to the other ones are the innovative action scenes.
whoops! we made the wrong movie?
Aylmer24 May 2023
While the general idea of the movie (that of a grizzled undercover cop teamed up with a crusader attorney to take down corruption in the legal system) sounds great, the movie totally fumbles the ball by trying to do too many things at once. We get a movie about the undercover guy working the streets to take down some evil kingpin played by Antonio Fargas. Simultaneously he's suspicious of his peers and trying to get the dirt on them. At the same time, Peter Weller is in a court case to save some young guy who is wrongly accused of murdering an undercover cop (something the superior film NARC explored later in much greater detail) while he also goes after the corrupt cops, the kingpin, AND juggles his two relationships with his fiance and enemy attorney. Any one of these storylines would have made for a decent movie (as NARC proved), but they just don't belong together in the same movie. The results get so muddled and the tone so inconsistent that it just gets baffling, silly and boring by the end.
Things completely jump the shark when the bad guys try to get away, so one of the heroes does a reverse-COMMANDO and jumps onto their plane, rides outside as it flies around, sabotages it, and then leaps out into the ocean. Was it really planned or just a spur of the moment decision? The movie doesn't ever really tell you. I believe it was played for humor but to get so ridiculous so late in the movie clashes heavily with the somewhat more serious tone 99% of the rest of the film seemed to be going for. What makes it all more frustrating is how well James Glickenhaus directed his previous films and how well he handles a few select scenes here. There's plenty of opportunities for him to go further and make this film darker, more disturbing, or at least more engaging, but he drops the ball several times in favor of a lighter and more brisk pace.
All in all this film falls victim to the same general air of absurdity that hurt many other late 80's police movies. The cycle was certainly nearing its end and veering into comedy, perhaps as an overcorrection from the extremely grim cop dramas of just a few years prior such as CRUISING and TRIPWIRE.
Things completely jump the shark when the bad guys try to get away, so one of the heroes does a reverse-COMMANDO and jumps onto their plane, rides outside as it flies around, sabotages it, and then leaps out into the ocean. Was it really planned or just a spur of the moment decision? The movie doesn't ever really tell you. I believe it was played for humor but to get so ridiculous so late in the movie clashes heavily with the somewhat more serious tone 99% of the rest of the film seemed to be going for. What makes it all more frustrating is how well James Glickenhaus directed his previous films and how well he handles a few select scenes here. There's plenty of opportunities for him to go further and make this film darker, more disturbing, or at least more engaging, but he drops the ball several times in favor of a lighter and more brisk pace.
All in all this film falls victim to the same general air of absurdity that hurt many other late 80's police movies. The cycle was certainly nearing its end and veering into comedy, perhaps as an overcorrection from the extremely grim cop dramas of just a few years prior such as CRUISING and TRIPWIRE.
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