Cobra (George P. Cosmatos): A Shiva-Pennywise Review

Abishai1000

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One of the most under-appreciated American crime-thriller films is "Cobra" [1986]. The film was directed by *under-appreciated* film-maker George P. Cosmatos who also made the cult-favourite action-oriented American films "Rambo: First Blood Part II" [1985], "Leviathan" [1989], and "Tombstone" [1993].

"Cobra" [1986] features a script penned by the often under-valued American celebrity Sylvester Stallone who plays the lead (titular) role of an unconventional American cop named Cobra who has to tackle not only L.A.'s worst criminals but a new demonic gang of self-proclaimed social Darwinist radicals who exterminate random citizens at will who are targeted for various undesirable human weaknesses.

This gang wields axes for their crimes and for their bizarre underground rituals, and their members include 'all sorts.' The grunt-work of this gang is carried out by hand-picked axe-wielding goons who ride motorcycles and is led by a brutish and unforgiving blade-carrying ghoul named The Night Slasher (portrayed nicely by the offbeat actor Brian Thompson).

What Cobra (Stallone) does not know is that the girlfriend of the Night Slasher may be a member of the LAPD. Meanwhile, Cobra has to assist a model (Brigitte Nielsen) in escaping the wrathful intentions of the Night Slasher and his Darwinian gang who have targeted her for extermination. Cobra ends up falling in love with this attractive model while serving as her special bodyguard.

This film hits all the right notes about modern urbanization-paranoia related crime story news reporting, criminal mania, and action-adventure stylishness. While it can feel clichéd at certain points, in most sequences, it satisfies on levels of cinematic electricity.

Because "Cobra" [1986] does not get as much critical attention as other, more *noteworthy* urban crime presentation American films such as Brian De Palma's history-masterpiece "The Untouchables" [1987] or William Lustig's Americana psyche film "Maniac Cop" [1988], I though it would be worthwhile to re-present "Cobra" [1986] in a mock film review (Siskel and Ebert style).

With that said, the two reviewers are two folk mythology characters --- Shiva (the unusual Hindy deity of meditation/destruction) and Pennywise (the demonic clown from Stephen King's iconic horror novel It). The purpose of using these two folk mythology avatars is to offer up some degree of film intellectualism colloquialization --- after all, aren't films supposed to be an interactive (and fun) experience?

So here we go.



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SHIVA: Well, it's good to have you with me here today, Pennywise. Cobra is an exciting film. This was an interesting turn for film-maker Cosmatos who penned the first Rambo sequel as well as Leviathan. Stallone offers up a nice script and satisfying acting to create an interesting portrait of a non-maniacal maniac cop!

PENNYWISE: Agreed. Cobra is entertaining for men and women and Brigitte Nielsen offers great cosmetic accoutrement in what is essentially a crime-avoidance presentation. I also think Brian Thompson is terrific as the Night Slasher.

SHIVA: Agreed. Though, don't get too excited about the Night Slasher. Knowing you, Pennywise, you might offer up some over-romanticized reviews about the quality of psychopath presentations in American crime films.

PENNYWISE: All I'm saying is that the Night Slasher helps carry the film. He's Fortinbras to Cobra's urban Hamlet.

SHIVA: Agreed. Well, let's start with the review. The opening sequence features a dramatic grocery store hostage situation and a psychotic shotgun-wielding loon Cobra must deal with, and this is how we first meet the American cop Cobra --- unusual, tough, criticized, and highly-effective.

PENNYWISE: That grocery store psycho was delicious and clichéd simultaneously.

SHIVA: Then, we are introduced (actually from opening credits sequence tie-ins) to the Night Slasher gang which almost seems like a realism-oriented Escape from New York demon army.

PENNYWISE: Then, we cut away to a random urban crime consciousness slideshow complemented by a model-photoshoot (where we are introduced to Brigitte Nielsen's character --- Ingrid Knudsen). The Night Slasher attempts to murder her in the parking garage but she gets away, and the Night Slasher and his gang pursue her relentlessly for the remainder of the film.

SHIVA: Yes, while there is a fun hospital pursuit scene between the Night Slasher and Knudsen, I felt that the intentions behind chasing her so obsessively could have been better-developed, though the random images of the Night Slasher's gang effectively offer storytelling imagery regarding criminal mania.

PENNYWISE: Finally, Cobra and the Night Slasher have a final confrontation after the Night Slasher's girlfriend (a cop) gives up Cobra and Knudsen's secret hideaway location. This is a climactic scene in which the Night Slasher delivers his Darwinian philosophy statement to Cobra before trying to kill him.

SHIVA: Overall, Cobra was tight and exciting even if it was a bit clichéd (in terms of crime derring-do).

PENNYWISE: Agreed. Cosmatos is a great pedestrianism storyteller and confetti film-maker. I like comparing Cobra to urbanization-dreamscape films such as Dark City (Alex Proyas) and Heat (Michael Mann).

SHIVA: Actually, I like comparing Cobra to urbanization-jitters films such as Maniac Cop (William Lustig) and The Running Man (Paul Michael Glaser). I give this film 3 out of 5 stars.

PENNYWISE: I give it 4 out of 5 stars.

SHIVA: One final note/question/concern: Does Cobra glorify crime?

PENNYWISE: I think the film hits all the right notes about the strange balance between good and evil.

SHIVA: Disagreed. I think the film subliminally suggests that cops are required to use excessive force. Nevertheless, it is an important and under-appreciated urbanization-themed gem in the history of American cinema.

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:wink:



Cobra (1986 Film)


Shiva

Pennywise (Stephen King)




Cobra_movie_poster.jpg
 
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