Sylvester Stallone has had a few franchises over the years – Rocky, Rambo, The Expendables – but he also has a film that should have been a franchise starter, but never received any of the sequels it deserved. That’s the 1986 classic Cobra (watch it Here), which also happens to be the movie The Arrow in the Head Show hosts John “The Arrow” Fallon and Lance Vlcek are talking about in the new episode of the series. To find out what they had to say about Cobra, check out the video embedded above!
Directed by George P. Cosmatos from a screenplay by Sylvester Stallone (which was apparently loosely based on the novel Fair Game by Paula Gosling), Cobra has the following synopsis: Los Angeles policeman Lt. Marion “Cobra” Cobretti finds himself at the center of a spate of murders carried out by a secret society called New Order: killers who select...
Directed by George P. Cosmatos from a screenplay by Sylvester Stallone (which was apparently loosely based on the novel Fair Game by Paula Gosling), Cobra has the following synopsis: Los Angeles policeman Lt. Marion “Cobra” Cobretti finds himself at the center of a spate of murders carried out by a secret society called New Order: killers who select...
- 2/17/2023
- by Cody Hamman
- JoBlo.com
Kieran Fisher May 22, 2019
Was there ever a better '80s tagline that "Crime is a disease. Meet the cure?" If you haven't seen Sylvester Stallone's Cobra, you should.
Had Sylvester Stallone had his way, the now cult classic Beverly Hills Cop would have been a much different film. Before Eddie Murphy was cast in the role that would define his acting career, the part of Axel Foley was offered to Sly. Yet the Italian Stallion had other ideas in mind for what he wanted the film to be, so he took it upon himself to rewrite the script, moulding it to suit his strengths as a white-knuckled mortal terminator. As screenwriter Daniel Petrie Jr. told Den of Geek UK, while it was "considered a coup to have written a script to attract a movie star of that caliber," it was nonetheless "a daunting experience."
Stallone proposed a lot of changes.
Was there ever a better '80s tagline that "Crime is a disease. Meet the cure?" If you haven't seen Sylvester Stallone's Cobra, you should.
Had Sylvester Stallone had his way, the now cult classic Beverly Hills Cop would have been a much different film. Before Eddie Murphy was cast in the role that would define his acting career, the part of Axel Foley was offered to Sly. Yet the Italian Stallion had other ideas in mind for what he wanted the film to be, so he took it upon himself to rewrite the script, moulding it to suit his strengths as a white-knuckled mortal terminator. As screenwriter Daniel Petrie Jr. told Den of Geek UK, while it was "considered a coup to have written a script to attract a movie star of that caliber," it was nonetheless "a daunting experience."
Stallone proposed a lot of changes.
- 5/23/2016
- Den of Geek
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Was there ever a better 80s' tagline that 'Crime is a disease. Meet the cure'? Join us in celebrating the 30th birthday of Cobra...
This article contains spoilers for Cobra. We suspect we're the only website to have written those words in recent times....
Had Sylvester Stallone had his way, the now cult classic Beverly Hills Cop would have been a much different film. Before Eddie Murphy was cast in the role that would define his acting career, the part of Axel Foley was offered to Sly. Yet the Italian Stallion had other ideas in mind for what he wanted the film to be, so he took it upon himself to rewrite the script, moulding it to suit his strengths as a white-knuckled mortal terminator. As screenwriter Daniel Petrie Jr told us last year, whilst it was "considered a coup to have written a script to attract...
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Was there ever a better 80s' tagline that 'Crime is a disease. Meet the cure'? Join us in celebrating the 30th birthday of Cobra...
This article contains spoilers for Cobra. We suspect we're the only website to have written those words in recent times....
Had Sylvester Stallone had his way, the now cult classic Beverly Hills Cop would have been a much different film. Before Eddie Murphy was cast in the role that would define his acting career, the part of Axel Foley was offered to Sly. Yet the Italian Stallion had other ideas in mind for what he wanted the film to be, so he took it upon himself to rewrite the script, moulding it to suit his strengths as a white-knuckled mortal terminator. As screenwriter Daniel Petrie Jr told us last year, whilst it was "considered a coup to have written a script to attract...
- 5/22/2016
- Den of Geek
November 7, 1995
THE AMERICAN PRESIDENT
Columbia Pictures
After watching his "North" go south at the boxoffice, Rob Reiner has reverted to top form with Columbia Pictures' "The American President", a thoroughly entertaining tale of love at the White House.
Acerbic, warm and timely, the winning picture also boasts one of the year's best scripts and a slew of terrific performances. Michael Douglas, who stepped in when Robert Redford stepped out, makes for a highly effective President Andrew Shepherd, who, in his rare spare time is a widower trying to give his daughter a normal upbringing. But the film's most pleasant surprise is Annette Bening, who is nothing short of sensational here, demonstrating a rarely seen comedic side that expertly conveys the right mix of steely determination and unnerved vulnerability (HR 11/3-5).
Michael Rechtshaffen
FAIR GAME
Warner Bros.
Although popcorn fights might occur during the silliest moments of this very silly exercise in big-bang movie-making, there's just enough preposterous action and sleazy& A to make Joel Silver's latest production an overachiever, at least during the first weekend at the boxoffice. Curiosity over the film debut of model Cindy Crawford and Warner Bros. marketing savvy will line 'em up, but word-of-mouth will be deadly as debut director Andrew Sipes' "Fair Game" is ultimately fatuous bunk inspired to provide only the cheapest sort of thrills.
Based on Paula Gosling's novel, Charlie Fletcher's screenplay boasts some of the most inane dialogue and pitifully inadequate plotting to show up on the screen this year. There's not a single believable moment, but the intended humor is generally lame and the cartoonish characters are not captivating in the slightest.
Bloody, explosive showdowns occur regularly and the body count is hard to keep up with (HR 11/3-5).
David Hunter
ONCE UPON A TIME ...
WHEN WE WERE COLORED
Republic Pictures
Making festival rounds on its way to a January select-site release, TV actor Tim Reid's $2.5 million directorial debut is a dramatically unfocused but nobly intentioned adaptation of Clifton Taulbert's coming-of-age book set among poor blacks in post-World War II Mississippi.
A tough sell outside the core African-American audience, "Once Upon a Time" centers on young Cliff (Willie Norwood Jr.), whose single mother leaves him in the care of grandparents and others in the ramshackle "village" they call home.
Episodic and idealistic in its portrayal of the archetypal characters, Paul Cooper's screenplay concentrates on the strong community environment that nourishes Cliff, with just a few scenes showing the ugliness of the era's overt racism and segregation (HR 11/6).
David Hunter
NOBODY LOVES ME
CFP Distribution
A black comedy about a lonely young woman looking for love, and a big hit in her native Germany, Doris Dorrie's "Nobody Loves Me" will no doubt strike a chord with single women everywhere, if its relentless quirkiness isn't too off-putting.
The chief problem with the film is the relentless and ultimately wearying eccentricity of the characters, who prove to be entertaining but less than endearing (HR 11/6).
Frank Scheck
Other reviews
Also reviewed last week were the films "The Monster" (HR 11/1), "Red Ribbon Blues" (11/2), "Sweet Nothing" (11/3-5) and "Nobody Loves Me (11/6)."...
THE AMERICAN PRESIDENT
Columbia Pictures
After watching his "North" go south at the boxoffice, Rob Reiner has reverted to top form with Columbia Pictures' "The American President", a thoroughly entertaining tale of love at the White House.
Acerbic, warm and timely, the winning picture also boasts one of the year's best scripts and a slew of terrific performances. Michael Douglas, who stepped in when Robert Redford stepped out, makes for a highly effective President Andrew Shepherd, who, in his rare spare time is a widower trying to give his daughter a normal upbringing. But the film's most pleasant surprise is Annette Bening, who is nothing short of sensational here, demonstrating a rarely seen comedic side that expertly conveys the right mix of steely determination and unnerved vulnerability (HR 11/3-5).
Michael Rechtshaffen
FAIR GAME
Warner Bros.
Although popcorn fights might occur during the silliest moments of this very silly exercise in big-bang movie-making, there's just enough preposterous action and sleazy& A to make Joel Silver's latest production an overachiever, at least during the first weekend at the boxoffice. Curiosity over the film debut of model Cindy Crawford and Warner Bros. marketing savvy will line 'em up, but word-of-mouth will be deadly as debut director Andrew Sipes' "Fair Game" is ultimately fatuous bunk inspired to provide only the cheapest sort of thrills.
Based on Paula Gosling's novel, Charlie Fletcher's screenplay boasts some of the most inane dialogue and pitifully inadequate plotting to show up on the screen this year. There's not a single believable moment, but the intended humor is generally lame and the cartoonish characters are not captivating in the slightest.
Bloody, explosive showdowns occur regularly and the body count is hard to keep up with (HR 11/3-5).
David Hunter
ONCE UPON A TIME ...
WHEN WE WERE COLORED
Republic Pictures
Making festival rounds on its way to a January select-site release, TV actor Tim Reid's $2.5 million directorial debut is a dramatically unfocused but nobly intentioned adaptation of Clifton Taulbert's coming-of-age book set among poor blacks in post-World War II Mississippi.
A tough sell outside the core African-American audience, "Once Upon a Time" centers on young Cliff (Willie Norwood Jr.), whose single mother leaves him in the care of grandparents and others in the ramshackle "village" they call home.
Episodic and idealistic in its portrayal of the archetypal characters, Paul Cooper's screenplay concentrates on the strong community environment that nourishes Cliff, with just a few scenes showing the ugliness of the era's overt racism and segregation (HR 11/6).
David Hunter
NOBODY LOVES ME
CFP Distribution
A black comedy about a lonely young woman looking for love, and a big hit in her native Germany, Doris Dorrie's "Nobody Loves Me" will no doubt strike a chord with single women everywhere, if its relentless quirkiness isn't too off-putting.
The chief problem with the film is the relentless and ultimately wearying eccentricity of the characters, who prove to be entertaining but less than endearing (HR 11/6).
Frank Scheck
Other reviews
Also reviewed last week were the films "The Monster" (HR 11/1), "Red Ribbon Blues" (11/2), "Sweet Nothing" (11/3-5) and "Nobody Loves Me (11/6)."...
- 11/7/1995
- The Hollywood Reporter - Movie News
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