Cohen & Tate

A classic hell for leather road thriller.
A taut, terrically filmed duel of wits between a little boy and two hired killers who kidnapped him. The film contains strong performances and gripping camerawork and editing. An underseen 80's classic that was completely ripped off by Elmore Leonard in his novel "KILLSHOT." A must see for Roy Schiedler's icy turn as a hired killer with a samurai streak of honor and Baldwin's frightening psychopathic partner. A reliably crack job of directing from Eric Red, of "THE HITCHER," "NEAR DARK" and "BODY PARTS."

Cohen and Tate a High-Octane Adventure
For any fan of Adam Baldwin (Firefly fans I'm talking to you), Cohen and Tate is a thrilling romp that follows two mob hitmen as they try to deliver a young witness to their boss. Unfortunately for them, the kid's a conniving little snot who figures out how to play his captors against one another and does so with annoying dexterity.

Adam Baldwin gives a vicious performance as the hot-headed Tate, though a lot of his dialogue is badly dubbed over for content (despite the movie's R rating). Roy Scheider is ice-cold as Cohen, conceivable as a veteran killer suffering from hearing loss.

The movie as a whole isn't the greatest, but it's not so much the plot that drives this movie. The characters of Cohen and Tate, their conflicting natures and constitutions is what makes this movie worth your time. As the tension mounts, you can sense the characters' hatred for one another. When the movie reaches it's climax, you don't really care who gets killed but you really...

SCHEIDER 4 LIFE
Roy Scheider (as Cohen) and Adam Baldwin (as Tate) are bickering mob hit men who kidnap a 9-year old kid who witnessed a mob-related killing. They also kill his parents. Cohen is older and more logical, Tate is a violet hot-head who wants nothing more than to kill the little boy. Pretty much all of this film takes place over a few hours one night on the road, as the trio head back to the city. It's very tense, clever, and well-written, and delivers an unconventional, powerful ending. The kid is never annoying, only cries once, and is portrayed as calm and cunning without being ridiculously precocious. The only downfall is Adam Baldwin's amateurish, too-obvious, over-the-top performance, and that unfortunately prevents this from being a classic. Also, Baldwin spews expletives left and right, however many of them are badly dubbed over as "sucker" or "freakin." That doesn't really make sense. But, at least Baldwin constantly threats the kid, hits him, and points giant...

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