Walter Hill Movies

"Hard Times" is a powerful, brutal film containing a definitive Charles Bronson performance.

A tough, highly stylized thriller with amazing sound design and car chases.

As violent as it is stylish, The Warriors is a thrilling piece of pulp filmmaking.

With its pared down storytelling, The Long Riders delivers with an evocative atmosphere and artful brutality.

“Southern Comfort” is a well-made film, but it suffers from a certain predictability.

Marking an auspicious feature film debut for Eddie Murphy, 48 Hrs. is a briskly paced action comedy that succeeds largely due to the outstanding chemistry between its two leads.

Streets of Fire may sometimes buckle under the strain of its ambitious fusion of disparate genres, but Walter Hill's bravura style gives this motorcycle musical fuel to burn.

With Richard Pryor's trademark ribald humor tamped down, Brewster's Millions feels like a missed opportunity to update a classic story.

"Crossroads" borrows so freely and is a reminder of so many other movies that it's a little startling, at the end, to realize how effective the movie is and how original it manages to feel despite all the plunderings.

Walter Hill is the right director for this material. He specializes in male action movies where the characters are all a little taller, leaner, meaner and more obscene than in real life.

Red Heat's overreliance on genre formula is bolstered by Walter Hill's rugged direction and a strong touch of humor.

This is a movie in the true tradition of film noir -- which someone who didn't write a dictionary once described as a movie where an ordinary guy indulges the weak side of his character, and hell opens up beneath his feet.

Even the return of Eddie Murphy, Nick Nolte, and director Walter Hill can't hide the lazy, patchwork quality of Another 48 Hrs.

Trespass pits public servants against gangsters in a race for stolen loot -- and thanks to a killer cast and Walter Hill's assured direction, the audience wins.

Geronimo: An American Legend fails to stir the soul, though its sweeping visuals and historical ambitions mark an intelligent change of pace for director Walter Hill.

Crowded with talent on either side of the camera, Wild Bill shoots itself in the foot with a surprisingly muddled take on the story of the titular folk hero.

Last Man Standing's brooding atmosphere and bursts of artfully arranged action prove intriguing yet ultimately insufficient substitutes for a consistently compelling story.

This is an insult to the Sci-fi genre with no excitement and bad FX.

While not the deepest boxing movie out there, Undisputed is successful at hitting its aspiration of being nothing more than a genre picture.

Bullet to the Head's unapologetically trashy thrills evoke memories of its star and director's proud cinematic pasts -- but sadly, those memories are just about all it has to offer.

The Assignment's premise is bizarrely intriguing; unfortunately, it's also just one of many ingredients fumbled in a disappointing misfire from director Walter Hill.