Walter Hill is a curious case of a talented director who’s fallen on hard times in recent years. His star burned brightest between 1978 and 1982 when his keen eye for cinematic roughhousing heralded the arrival of a macho filmmaker with lots of lead in his pencil. ’78’s The Driver riffed off Jean-Pierre Melville’s laconic cool; Hill’s (now dated) follow-up masterpiece The Warriors re-imagined New York as a hellish inferno ruled by street gangs.
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