Wes Block is a detective who's put on the case of a serial killer whose victims are young and pretty women. The murders are getting personal when the killer chooses victims who are acquaintances of Block. Even his daughters are threatened.
Clint Eastwood Geneviève Bujold Dan Hedaya Alison Eastwood Jenny Beck Marco St. John Rebecca Perle Regina Richardson Randi Brooks Jamie Rose Margaret Howell Rebecca Clemons Janet MacLachlan Graham Paul Bill Holliday John Wilmot Margie O'Dair Joy N. Houck Jr. Stuart Baker-Bergen Donald Barber Robert Harvey Ron Gural Layton Martens Richard Charles Boyle Becki Davis Jonathan Sachar Valerie Thibodeaux Lionel Ferbos Eliott Keener Show All…
Vern Poore Chester Slomka Alan Robert Murray Les Fresholtz Gordon Davidson Rick Alexander Neil Burrow William B. Kaplan
Um Agente na Corda Bamba, En la cuerda floja, Der Wolf hetzt die Meute, La Corde raide, Corda tesa, Kötéltánc, Σε τεντωμένο σκοινί, Strømer på stregen, Петля, Stahující se smyčka, על חבל מתוח, Funie strânsă, Düğüm, Köysi kiristyy, Стегната примка, 연쇄 살인, Ant Bedugnės Krašto, 黑色手铐, 黑色手銬, タイトロープ, Lina, Na rubu, Той, що йде по канату, A la corda fluixa
Sweden15
USAR
JapanR18+
Ireland18
UK18
Germany16
Spain18
PortugalM/18
Hungary16
Germany
Hungary
Ireland
Japan
Portugal
Spain
Sweden
UK
USA
If it was a little more widely known that Clint ghost directed most of this, we'd all be talking about how it's one of his most idiosyncratic, risky, and image-busting films, not to mention how it makes for a fascinating counterweight to SUDDEN IMPACT. I mean there's a scene in this 1984 Eastwood cop movie where he directly implies that he's had a homosexual experience! Anyway the rest of it is shot through with his characteristic patience, ambivalent sexual politics, and digressive moments of both humor and violence. Pretty fucking weird and great.
Clint Eastwood's Wes Block loves hookers. Hookers love New Orleans Police Detective, Wes Block. Hookers start brutally being killed one-by-one by the hands of a maniac. What do they all have in common? Yup, Wes Block has shagged them all. Tightrope grabs you by the throat, and never lets go until the climax. It's Clint like you've never seen. Ya feeling lucky, reader of this review?
Tightrope doesn't belong to a single genre. It's genre mix-matching at its most mixable. It's part gritty grimy slimy late 70's / early 80's detective story. However, there's a touch of neo-noir, and elements of giallo. It doesn't matter who the killer is. He's faceless for the most part, but he's a creepy cat.…
Here it is: the horniest Clint movie of all time. In this nasty and weird sex thriller, that he directed much of, he plays a New Orleans homicide cop who struggles to be a good divorced, single dad of two daughters while trawling the flesh markets, brothels, and handjob parlors of The French Quarter searching for a serial rapist/killer. In this movie Clint has sex with at least three witnesses, experiments with BDSM, and we are treated to a long, lingering shot of his fully oiled up ass. Best of all in Clint's canny deconstruction of both is own real life womanizing and his on screen Dirty Harry persona, he ends up with a feminist gf and in one scene…
American giallo ghost directed by Eastwood is more ambitious than his usual morally ambiguous cop joints, mixing some wonderful aesthetics and Orleans vibes with family drama, plenty of sleaze, jazz, a prostitute murdering maniac, and a bit more complexity than usual.
First off, I feel like I keep seeing tons of Dirty Harry comparisons with this movie—this is nothing like a Dirty Harry movie (but would make an interesting watch with Sudden Impact) and the character of Wes Block is nothing like Harry Callahan. I love the family life scenes with his daughters and the sense that all three of them seem to be learning as they go, which felt so damn real to me. Then we have the seedy…
i'm deeply idiotic for giving this 5, but you get to see clint's oiled ass, it's implied he's bisexual, and half the dialogue is lame innuendos -- it's basically him doing a paul schrader film. i can ask for nothing else, no notes.
65
This is a real live-wire. Put it up there with Sudden Impact, Cruising, and even Hardcore. Clint Eastwood plays a New Orleans police detective and a single dad with two daughters (one of which is played by his real-life daughter) and five dogs. A serial killer is on the loose killing sex workers, and it's his job to solve the case. Only problem is, he's also in love with the nightlife, and his professional work ethic begins to blend in with his free-time. Make no mistake, this is clearly ghost-directed by Eastwood, and it's as sleazy as can be, a procedural unafraid to go past the limits, often feeling like a giallo in form. It ends with an intense graveyard chase scene that I absolutely loved. Honestly about twenty minutes too long though.
A mostly unfortunate Eastwood vehicle that clods around in some noir-ish sensibilities but flails in its actual awareness of genre. Eastwood is stiff and wooden, only memorable via his moments with his children, while the rest of the ensemble has gorgeous women but makes only one of them a real character that suffers from one-dimensional work. Personally, this is a strict exercise in atmosphere which I find does not work so well when Eastwood and Co. are trying to make a late-night schlock piece or serial killer caper. Easily my least favorite film of Clint's work I've seen.
A New Orleans homicide detective takes the case of a serial killer who rapes and murders sex workers. He follows the evidence and after a while discovers that the victims were more or less connected to him and his sexual escapades at the city's red light district.
"Tightrope" is a unique case in Clint Eastwood's decades-long career for two reasons. First, it's one of very few films where his character is not only deeply flawed but uncharacteristically vulnerable. Wes Block is a role diametrically different from Harry Callahan. Block is struggling to raise his two young daughters and the case fills him with guilt and self-doubt. The second reason is that its depiction of murder victims and kinky sex makes…
Clint Eastwood A Retrospective - Week 28
A New Orleans police detective (Clint Eastwood) finds he has some of the same traits as a serial killer of prostitutes.
It’s not a very enjoyable movie and it’s all a bit cliche nowadays, although I did enjoy Clint having kids, I think it’s the first time he has been portrayed as a family man.
Charlie Kaufman: The only idea more overused than serial killers is multiple personality. On top of that, you explore the notion that cop and criminal are really two aspects of the same person. See every cop movie ever made for other examples of this.
Donald Kaufman: Mom called it "psychologically taut".
Remarkably stuffy for a film that is supposed to be sleazy. Eastwood is seriously miscast. He is so stiff (heh) during his multiple (wtf!) sex scenes that he comes off like a guy who most certainly does NOT fuck.
Now look at his face on the poster, that's his expression for every part of the film. Railing a prostitute while slathered in oil, getting blown by a prostitute, playing…
Sort of a high rent version of Harris' Cop. A bit uncertain in spots but carried over by Clint Eastwood naked performance as a sleazy version of Harry Callahan under good 80's dad facade. The serial killer plot gives itself to a horror film feel that is quite unusual for a Eastwood film. Signed by screenwriter Richard Tuggle, but according to most reports mostly ghost directed by Eastwood himself.
