For example, there’s the withering glare Mosely gives one of his flunkies when he states the painfully obvious – that Walsh has his identification. Yaphet Kotto doesn’t play Mosely as an inept bumbler but instead brings an impressive intensity to the role that makes his character something of an intimidating figure which, of course, makes his kind of incompetent lackeys that much funnier the more frustrated he gets when they are repeatedly unable to catch Walsh and Markdukas. Walsh knows what they want and gives them nothing but smartass replies to their questions. The bounty hunter quickly finds himself surrounded by four FBI agents. The bounty hunter is able to track down and find Mardukas where the Feds and the Mob were unable.īrest wastes no time introducing the film’s various antagonists starting with Mosely who approaches Walsh on the street. I like that Brest takes the time to show Walsh doing his job and that he’s good at it. If that wasn’t bad enough, his guy is almost snatched away from him by Dorfler. While this film may be a comedy, Brest lets us know right from the get-go that it’s going to have a slightly unpredictable edge to it as Walsh is almost killed by a deadbeat he’s supposed to bring in. What is initially a simple “midnight run” from New York City to Los Angeles, turns into the road trip from hell as Walsh and Mardukas are pursued across the country via plane, train, and automobile by dim-witted gangsters, frustrated FBI agents led by Alonzo Mosely (Yaphet Kotto), and a rival bounty hunter named Marvin Dorfler (John Ashton). “The Duke,” an accountant who stole $15 million from Las Vegas gangster Jimmy Serrano (Dennis Farina). Jack Walsh (Robert De Niro) is a bounty hunter hired by his bail bondsman Eddie Moscone (Joe Pantoliano) to find and transport to Los Angeles, one Jonathan Mardukas (Charles Grodin) - a.k.a. What makes Midnight Run so good, even after all these years, is the unbeatable combination of an excellent cast, a witty script and solid direction. Along with Lethal Weapon, Midnight Run is arguably the genre’s last gasp before slipping into formulaic predictability and self-parody (see Rush Hour, Blue Streak, et al). (1982), Beverly Hills Cop (1984), Lethal Weapon (1987), and Midnight Run (1988), which spawned numerous imitators and sequels. The best ones to come out of this period were 48 HRS. One of the most popular trends in the 1980s cinema was the buddy-action film.

Cinema studio brest