This is not my kind of movie ,but "the warriors" sustained my interest till the very end.The characters are not very interesting but the sensational use of night landscapes is absolutely mind-boggling,with those desert streets,those saving subway stations and those parks where it's dangerous to venture after dark ,as Simon and Garfunkel sing.More than the retreat of the 10,000 after Cyrus 's death,the long trip back to Coney Island makes me think of an Odyssey in miniature ,with its descent into Hell (the subway tunnel),its mermaids (the girls who invite the warriors) and its Circe (the woman in the park). The DJ ( we only see her lips) provides the antique chorus and gives the movie an eerie touch.Recommended
525 Reviews
one bad mutha of a 70s gangland action flick
Quinoa19843 June 2007
The Warriors is that near perfect movie to watch after midnight; it's got 'grit' carved out on its back and its got a look (and I'm quoting Grindhouse for a moment) that will tear you in two. One scene sort of spells out the attitude of our "heroes", and heroes as in they are the bunch that are a little down on the line of being rough dudes- they're on the subway back to Coney Island, and this is after just getting through a fight with another gang in a bathroom in Union Square. It's a brutal fight, with neither side coming away without scars, and while they're sort of zoning out for one of the only moments of peace so far in this night of havoc while getting back home, two couples who've obviously come out of a disco club come onto the train and sit right across from Swan (Michael Beck) and Mercy (Valkenburgh). Even tired as they are- and she not even a member but someone who decided to tag along with the group- the look that they exchange is not pretty, at all, and promptly the couples leave the train. This is not only one of my favorite scenes in the film, but it's one of the pure cinematic moments in any gang movie (not to be confused with gangster, more like the gangs of the 50s, think West Side Story only 100 times more stylized and potentially violent), adding just that nice extra layer onto what these Warriors represent.
Walter Hill, drawing from Greek history of the Spartans in Persian territory (and no, it's not 300), as well as heavily with comic-books (this is probably more-so with the director's cut, though it's only in the transitions that this is more than obvious, otherwise it's more intrinsic), crafts his film out of the blood, sweat and lack of tears that go on in the middle of the New York City night with these not-so-bizarre gang wars. The premise is simple: the Warriors got to go back to Coney Island after falling into a huge gang gathering in the Bronx that goes to s*** when the supposed future all-of-NYC gang leader (Roger Hill as Cyrus, a very notable one-scene turn full of power) is shot down by a whacko (David Patrick Kelly, wonderfully one-note as a bad-ass heel), who pins the murder on the Warriors. It's a chase picture, a lot of the time, as the gang has to run from rival gangs- not because they wouldn't want to take them on, just because it's a little inconvenient, especially with the conceit of the subway- but it's also one of the more heavy fight-centric gang films I've ever seen, with guys with bats, girls with vendettas (yes, girls), and punks on roller-skates.
Hill's film is captivating without being too ridiculous, which is a very fine line to tread, especially with a cast of unknowns. He could have easily just as made a wild exploitation flick, and there may be some out there who'll consider it just that. But it deftly mixes two aspects, one being the nature of the period in New York City, of the complete lack of real order of law (the cops sometimes get them, sometimes not, it's usually good/bad luck, as with the comic note with Ajax's arrest scene), and where it could be conceivable that after hours on the streets all hell could break loose; one could see this as being somewhat in relation to the world of Death Wish, albeit in this film the gangs not being centered on going after civilians, yet still same city, same wretched crime problem of the 70s. The other being the atmosphere of a down n dirty comic book, loaded with juicy one-liners (some of the best include "Can you dig it?", "I'll shove that bat up your ass and turn you into a popsicle", "Friday nights are good, Saturday nights are better"), expertly timed and edited scenes of violence and action- not just the gangs fights but also the opening with the gangs spreading out with the arrival of the cops- and the lines between good and evil blurred just enough to make it work for the material.
It's hard to envision the Warriors being properly remade today, as there's too much access to new visual effects and other tricks of the trade to maybe make things a little too 'slick', or to just simply admonish the ferocity of the characters and situations of the original. As it stands, the original Warriors lacks the greatest ending imaginable (it's really just an inevitable one, however fun it is to see it come down), and it does teeter on becoming a little too over-the-top for its own good. But overall, Hill has fashioned a modern midnight movie classic, where the people look like they've been taken off the streets and given very brief acting lessons, and the intensity is kept very thick from start to finish, plus an amazing soundtrack with funk and rock songs perfect for any outlaw picture. It's not too hard to wonder that it caused the kind of reaction when first released, from actual gangs in the theaters, not seen since the Wild One.
Walter Hill, drawing from Greek history of the Spartans in Persian territory (and no, it's not 300), as well as heavily with comic-books (this is probably more-so with the director's cut, though it's only in the transitions that this is more than obvious, otherwise it's more intrinsic), crafts his film out of the blood, sweat and lack of tears that go on in the middle of the New York City night with these not-so-bizarre gang wars. The premise is simple: the Warriors got to go back to Coney Island after falling into a huge gang gathering in the Bronx that goes to s*** when the supposed future all-of-NYC gang leader (Roger Hill as Cyrus, a very notable one-scene turn full of power) is shot down by a whacko (David Patrick Kelly, wonderfully one-note as a bad-ass heel), who pins the murder on the Warriors. It's a chase picture, a lot of the time, as the gang has to run from rival gangs- not because they wouldn't want to take them on, just because it's a little inconvenient, especially with the conceit of the subway- but it's also one of the more heavy fight-centric gang films I've ever seen, with guys with bats, girls with vendettas (yes, girls), and punks on roller-skates.
Hill's film is captivating without being too ridiculous, which is a very fine line to tread, especially with a cast of unknowns. He could have easily just as made a wild exploitation flick, and there may be some out there who'll consider it just that. But it deftly mixes two aspects, one being the nature of the period in New York City, of the complete lack of real order of law (the cops sometimes get them, sometimes not, it's usually good/bad luck, as with the comic note with Ajax's arrest scene), and where it could be conceivable that after hours on the streets all hell could break loose; one could see this as being somewhat in relation to the world of Death Wish, albeit in this film the gangs not being centered on going after civilians, yet still same city, same wretched crime problem of the 70s. The other being the atmosphere of a down n dirty comic book, loaded with juicy one-liners (some of the best include "Can you dig it?", "I'll shove that bat up your ass and turn you into a popsicle", "Friday nights are good, Saturday nights are better"), expertly timed and edited scenes of violence and action- not just the gangs fights but also the opening with the gangs spreading out with the arrival of the cops- and the lines between good and evil blurred just enough to make it work for the material.
It's hard to envision the Warriors being properly remade today, as there's too much access to new visual effects and other tricks of the trade to maybe make things a little too 'slick', or to just simply admonish the ferocity of the characters and situations of the original. As it stands, the original Warriors lacks the greatest ending imaginable (it's really just an inevitable one, however fun it is to see it come down), and it does teeter on becoming a little too over-the-top for its own good. But overall, Hill has fashioned a modern midnight movie classic, where the people look like they've been taken off the streets and given very brief acting lessons, and the intensity is kept very thick from start to finish, plus an amazing soundtrack with funk and rock songs perfect for any outlaw picture. It's not too hard to wonder that it caused the kind of reaction when first released, from actual gangs in the theaters, not seen since the Wild One.
Interesting, action-filled, gang-drama
grantss12 October 2015
Interesting, action-filled, gang-drama.
A delegation from a gang, the Warriors, goes to a meeting of all the major gangs in New York. The convener of the meeting, Cyrus, wants to unite all the gangs into one huge crime army. However, he is shot and killed by a disgruntled gang member and the Warriors are blamed. Now they have to fight their way home...
Regarded as a bit of cult classic, the Warriors isn't brilliant, but it is quite entertaining. Decent plot - though some of the traps and twists can be spotted a mile off - and good action scenes.
Performances aren't bad - the machismo, swagger and, to an extent, overacting are laid on thick but this suits the characters and movie.
A delegation from a gang, the Warriors, goes to a meeting of all the major gangs in New York. The convener of the meeting, Cyrus, wants to unite all the gangs into one huge crime army. However, he is shot and killed by a disgruntled gang member and the Warriors are blamed. Now they have to fight their way home...
Regarded as a bit of cult classic, the Warriors isn't brilliant, but it is quite entertaining. Decent plot - though some of the traps and twists can be spotted a mile off - and good action scenes.
Performances aren't bad - the machismo, swagger and, to an extent, overacting are laid on thick but this suits the characters and movie.
Stylish, Exciting and Endlessly Fun
Jared_Andrews16 November 2019
Explaining what makes "The Warriors" a good movie and one that is so enjoyable to watch is simple. It's the style.
The style announces itself loudly in the opening scene/credit sequence. Each credit appears in the custom text style then recedes into the depth of the screen like a departing train disappearing down a tunnel. Characters engage in excited exchanges about a deity-like leader, Cyrus, who commands the city's most powerful gang, the Grammercy Riffs.
Everyone is heading to see him deliver a speech. And, boy, what a speech it is. He captivates the crowd of thousands by using his striking charisma and booming baritone.
Then the gathering is abruptly interrupted by an act of violence for which the Warriors are falsely blamed. Acting on this inaccurate information, all gangs seek to capture and/or kill the Warriors. Now the Warriors must brave the dangerous streets on a 28-mile journey to safety.
Queue the action sequences. We see a lot of fights and running. A LOT of running. It's all delightful and stylish.
Director Walter Hill boldly leaves his fingerprints everywhere, shaping the aesthetic and creating something unusually special.
He creates a world of gang warfare that has undertones steeped in reality, but none of the characters of the world they inhabit ever feel real. The movie much more closely resembles a comic book. At times this is played subtly, and in other scenes Hill makes this readily apparent by pausing certain frames on screen to make them look like boxes from a comic book.
Dialogue continues the comic book theme. Characters say strange things that no one in real life would ever utter. The camera even moves in an unnatural manner. The action sequences contain exquisite energy, yet they feel completely rehearsed. Viewers are constantly fed reminders that they are watching a movie. It's never meant to be a realistic experience.
None of that is to say that this movie isn't enjoyable or that it is poorly made. It's purely a stylistic choice that Hill makes, and it's an overtly intentional one.
Within the first few minutes, you will have a pretty good sense if this movie is for you. If you like the vibe early, you'll enjoy the movie. At the very least, this one is worth a shot.
The style announces itself loudly in the opening scene/credit sequence. Each credit appears in the custom text style then recedes into the depth of the screen like a departing train disappearing down a tunnel. Characters engage in excited exchanges about a deity-like leader, Cyrus, who commands the city's most powerful gang, the Grammercy Riffs.
Everyone is heading to see him deliver a speech. And, boy, what a speech it is. He captivates the crowd of thousands by using his striking charisma and booming baritone.
Then the gathering is abruptly interrupted by an act of violence for which the Warriors are falsely blamed. Acting on this inaccurate information, all gangs seek to capture and/or kill the Warriors. Now the Warriors must brave the dangerous streets on a 28-mile journey to safety.
Queue the action sequences. We see a lot of fights and running. A LOT of running. It's all delightful and stylish.
Director Walter Hill boldly leaves his fingerprints everywhere, shaping the aesthetic and creating something unusually special.
He creates a world of gang warfare that has undertones steeped in reality, but none of the characters of the world they inhabit ever feel real. The movie much more closely resembles a comic book. At times this is played subtly, and in other scenes Hill makes this readily apparent by pausing certain frames on screen to make them look like boxes from a comic book.
Dialogue continues the comic book theme. Characters say strange things that no one in real life would ever utter. The camera even moves in an unnatural manner. The action sequences contain exquisite energy, yet they feel completely rehearsed. Viewers are constantly fed reminders that they are watching a movie. It's never meant to be a realistic experience.
None of that is to say that this movie isn't enjoyable or that it is poorly made. It's purely a stylistic choice that Hill makes, and it's an overtly intentional one.
Within the first few minutes, you will have a pretty good sense if this movie is for you. If you like the vibe early, you'll enjoy the movie. At the very least, this one is worth a shot.
I DIG IT
bsinc20 December 2002
Wow, I haven't been this amazed in a very long time. Where was I living all this time that not once did I hear anything about this movie. "The Warriors" is one of the best moves of the 70's and it definitely deserves more recognition than it apparently has. There isn't a single thing in this movie that disappoints, on the contrary, everything in it is brilliant. The acting, the very cool costumes, the amazing photography, the great adrenaline music, the fight sequences, the minimalistic plot, and of course the memorable one liners. From the moment it starts "The Warriors" just never loses its fast pace and we're not able to rest until the end. There are very few movies I wish would have last longer, there are even fewer that ended perfectly and "The Warriors" is one of them. If people though "Taxi Driver" was controversial they probably didn't see this movie. Cop bashing, interracial skinhead gangs, pretty girls that put out on every other corner; man, I'm not the least bit surprised that people wanted to imitate the Warriors. I felt like it today and I thought I was past that faze. All the praise to Walter Hill for helping make one of the best movies I've ever seen. The photography, that can only be surpassed by individuals the kinds of Kubrick and the shere minimalism of just about everything, even the deserted streets of New York, have never been more powerful. This is cult at its best. 9/10
Dignity in the Depths
dougdoepke1 December 2008
Several scenes alone are worth the price of admission. What a burst of visual imagination assembling New York's gangs in a single place with an elevated Cyrus presiding at the center. It's a great piece of staging as the camera pans over the throngs of cheering youth decked out in their gang colors, enough to give the cops and everyone else the terminal shudders. Then again, how much worse would they be running the city than the gang of white-collar billionaires usually in charge. I sympathize with Swan when he surveys his dilapidated home turf saying it's a heck-uv-a place to have to return to. Seems to me he's got at least as much class as any New York politician. It's not the gangs that give rise to gangs, it's the people in charge who create the hopeless conditions.
Great color photography as Swan and the Warriors repeat an ancient Greek legend by battling their way home across miles of hostile territory. I like the realistic way macho insults are used to shame the reluctant into aggressive tacticsmuch the way the army does. Then again, boys will be boys, ready for a little side action, even when it's not the smart thing to do as several of the troops find out. The combat scenes may not be very realistic, but they are well choreographed. Another bit of clever staging-- the Rogues (I think) standing outside the Men's Room stalls and you know something's going to happen, but what? Then it's blitzkrieg with some slick choreography.
Smart bit of scripting to insert the two upper-class couples into the subway across from Swan and his cheap-looking girl (Mercy). It's a clash of classes, like the city itself. Notice Swan's hard-eyed stare and how he keeps Mercy from primping herself to look more presentable to their social betters. Swan knows the score. It's all about dignity, no matter where you come from or how you look. And despite all the fighting, I think that's what the movie's really aboutdignity among the city's social rejects, how to get it and how to keep it. That way you know that even if you never get beyond your home turf, you still qualify at a basic level. That's also why at movie's end, we know Swan will never reach a place like the mayor's office. But that's okay because they know and we know-- he and his men do qualify. Good flick.
Great color photography as Swan and the Warriors repeat an ancient Greek legend by battling their way home across miles of hostile territory. I like the realistic way macho insults are used to shame the reluctant into aggressive tacticsmuch the way the army does. Then again, boys will be boys, ready for a little side action, even when it's not the smart thing to do as several of the troops find out. The combat scenes may not be very realistic, but they are well choreographed. Another bit of clever staging-- the Rogues (I think) standing outside the Men's Room stalls and you know something's going to happen, but what? Then it's blitzkrieg with some slick choreography.
Smart bit of scripting to insert the two upper-class couples into the subway across from Swan and his cheap-looking girl (Mercy). It's a clash of classes, like the city itself. Notice Swan's hard-eyed stare and how he keeps Mercy from primping herself to look more presentable to their social betters. Swan knows the score. It's all about dignity, no matter where you come from or how you look. And despite all the fighting, I think that's what the movie's really aboutdignity among the city's social rejects, how to get it and how to keep it. That way you know that even if you never get beyond your home turf, you still qualify at a basic level. That's also why at movie's end, we know Swan will never reach a place like the mayor's office. But that's okay because they know and we know-- he and his men do qualify. Good flick.
Entertaining, stylish, energetic and not without soul
Dandy_Desmond17 August 2011
Warning: Spoilers
Its seems the trend now days with indie directors and some mainstream to imitate movies of this kind. Movies with stylish direction, big performances and killer lines that are endlessly quotable.
I feel some reviews that are negative towards it misunderstand it completely. I've read that its 'silly' and the acting is amateurish. First of all of course it is silly, just look at the outfits of some of the gangs, plain ridiculous but Walter Hill and the makers know that this is not supposed to be reality, its a video game or comic book movie and in the end a damn fine entertaining one at that.
I don't see any problem with the acting to be fair and I must say Deborah Van Valkenberg steals your heart by the end. Her character Mercy starts off a trashy, mouthy and easy piece of ass that ditches her current gang the Orphans cos maybe she is looking for some 'real action' so tags onto the Warriors. However as the movie develops, she shows a vulnerable side that she is going nowhere - stuck in a rut, looking for a way out or a better life.
The scene when the two young couples get on the subway with their posh clothes and bright smiles and laughter, until they notice Mercy and Swan sat with cuts and bruises, the camera pans to Mercy's dirty feet - she goes to straighten her hair and Swan stops her showing his growing caring for her. Its just brilliant, further emphasising that this is more than just a cult fighting film.
None more than the final few reels and the song which includes the lyrics 'somewhere out on that horizon, out beyond the neon lights, I know there must be something better'... etc does the film develop its soul and I believe what makes it genuinely great.
For me it has action, good characters, a great soundtrack and an ending that makes me want to weep as the few that survive the night walk along the shoreline.
Would you join me for a weep? give it a watch!
I feel some reviews that are negative towards it misunderstand it completely. I've read that its 'silly' and the acting is amateurish. First of all of course it is silly, just look at the outfits of some of the gangs, plain ridiculous but Walter Hill and the makers know that this is not supposed to be reality, its a video game or comic book movie and in the end a damn fine entertaining one at that.
I don't see any problem with the acting to be fair and I must say Deborah Van Valkenberg steals your heart by the end. Her character Mercy starts off a trashy, mouthy and easy piece of ass that ditches her current gang the Orphans cos maybe she is looking for some 'real action' so tags onto the Warriors. However as the movie develops, she shows a vulnerable side that she is going nowhere - stuck in a rut, looking for a way out or a better life.
The scene when the two young couples get on the subway with their posh clothes and bright smiles and laughter, until they notice Mercy and Swan sat with cuts and bruises, the camera pans to Mercy's dirty feet - she goes to straighten her hair and Swan stops her showing his growing caring for her. Its just brilliant, further emphasising that this is more than just a cult fighting film.
None more than the final few reels and the song which includes the lyrics 'somewhere out on that horizon, out beyond the neon lights, I know there must be something better'... etc does the film develop its soul and I believe what makes it genuinely great.
For me it has action, good characters, a great soundtrack and an ending that makes me want to weep as the few that survive the night walk along the shoreline.
Would you join me for a weep? give it a watch!
I'll shove that bat up your ass and turn you into a Popsicle
movieman_kev8 October 2005
The Warriors, headed by Swan (Michael Beck), framed for killing Cyrus, a gang leader that would've united all of them, have to get home to Coney Island while all the rival gangs are gunning for them in this slightly surreal, slightly futuristic classic. All of the actors were brilliantly casted and well acted, not the least being David Patrick Kelly as highly memorable villain, Luther (Waahhrriioors come out to pllllllaahhhhyyyaaaa, is all I have to say). The new Director's cut which adds a prologue text crawl that ties it more firmly to an ancient Greek tale, as well as comic book wipes that transitions some scenes, may dumb it down a tad and spell it out for the audience too unsubtly, but it does NOT diminish from the overall greatness of the movie in the least. The superb director/ writer Walter Hill has made some all-time classics with "48 Hrs.", "The Getaway", "the Driver", Red Heat", among others. ALL of them much loved by me and to say that this film is hands down the best of all is quite a compliment indeed. Followed by a video game based on it by Rockstar that looks simply amazing and a planned remake that will in no way even hope to be as half as good as the original (It won't even have the great Baseball Furies, I mean, come on now!!)
My Grade: A+
Director's Cut DVD Extras: An Introduction Walter Hill; A little over an hour long documentary cut into 4 featurettes (The Beginning: From Novel To Screen, The Battleground: Casting the Warriors, The Way Home: Making The Warriors, and The Phenomenon: Releasing the Warriors); Theatrical trailer; Video Game Trailer; and Trailers for "P Diddy's Bad Boys of Comedy", "Airplane: Don't Call me Shirley Edition", "Hustle & Flow", "Macgyver", "George Lopez: Why you crying?", & "the Godfather"
My Grade: A+
Director's Cut DVD Extras: An Introduction Walter Hill; A little over an hour long documentary cut into 4 featurettes (The Beginning: From Novel To Screen, The Battleground: Casting the Warriors, The Way Home: Making The Warriors, and The Phenomenon: Releasing the Warriors); Theatrical trailer; Video Game Trailer; and Trailers for "P Diddy's Bad Boys of Comedy", "Airplane: Don't Call me Shirley Edition", "Hustle & Flow", "Macgyver", "George Lopez: Why you crying?", & "the Godfather"
Walter Hill's stylish 'Warriors' packs a punch
Michael_Pilkington11 September 2004
During a gang summit in the Bronx, a rival gang leader (Roger Hill) is shot and killed. A Coney Island gang is wrongfully accused of the crime and find themselves on the run from other gangs and cops as they race back to their turf. Will they make it back in one piece?
Walter Hill's ("48 Hrs.") stylish tale about gang warfare packs a punch (even by today's standards). Upon release, the film sparked controversy and was accused of encouraging gang violence. After one look, it's not brutal, graphic or unpleasant. It's an exciting, fast-paced, action-packed, non-bloody tale that sends a message with conviction. Most of the gangs portrayed are too cartoonish to be menacing, but yet they are unique in more ways than one. Credit should also be given to Andrew Laszlo's photography. A cult classic. "Can you dig it?"
My evaluation: *** out of ****.
Walter Hill's ("48 Hrs.") stylish tale about gang warfare packs a punch (even by today's standards). Upon release, the film sparked controversy and was accused of encouraging gang violence. After one look, it's not brutal, graphic or unpleasant. It's an exciting, fast-paced, action-packed, non-bloody tale that sends a message with conviction. Most of the gangs portrayed are too cartoonish to be menacing, but yet they are unique in more ways than one. Credit should also be given to Andrew Laszlo's photography. A cult classic. "Can you dig it?"
My evaluation: *** out of ****.
A 1970s Classic
gavin69424 February 2013
In a future, dystopian New York City, turf gangs and cops rule the streets. When one gang leader tries to bring all gangs together against the cops, the Warriors are framed for his murder and the entire city turns on them.
What could have been a film about gang violence -- and glamorized gang violence at that -- is actually a story about diplomacy. How do the gangs cope with knowing hundreds of other gangs exist in New York City? How do they work together (or fail to work together) to stand their ground against a police force that wants them dead?
This film, although fun and action-packed, is really a small-scale look at the world. We have Cyrus, trying to unite the gangs into a sort of United Nations. We have sovereignty and territory disputes, and the choice to defend them by force or negotiate a peaceful way for others to travel through who mean no harm.
What could have been a film about gang violence -- and glamorized gang violence at that -- is actually a story about diplomacy. How do the gangs cope with knowing hundreds of other gangs exist in New York City? How do they work together (or fail to work together) to stand their ground against a police force that wants them dead?
This film, although fun and action-packed, is really a small-scale look at the world. We have Cyrus, trying to unite the gangs into a sort of United Nations. We have sovereignty and territory disputes, and the choice to defend them by force or negotiate a peaceful way for others to travel through who mean no harm.
Patrick Kelly, the best soft-spoken killer since Andy Robinson in "Dirty Harry."
Nazi_Fighter_David19 October 2003
Warning: Spoilers
A gang called the 'Warriors,' exhibits qualities characteristic of classical heroes: gallantry, self-pride, loyalty, discipline, and most of all, the ability to fight...
It is night in New York city... Nine leather-vested members of this small bunch, board a subway leaving their Coney Island turf and travel to Van Cortland Park in The Bronx...
The 'Warriors' are only one of many in New York street gangs who have sent representatives to a unification meeting called by Cyrus (Roger Hill), the lord of the largest and most powerful gang in the city, the Gramercy Riffsa black gang all in their silk pajamas and Kung Fu shirts...
Cyrus speaks to the huge gathering, explaining that all the gangs must unite, that together they outnumber the police three to one, that together they can consolidate forces and rule the city...
There is wild cheering... And suddenly, out of no where, a mean, small-minded person pulls his gun and shoots to kill...
The cowardly little guy of the Rogues quickly yells out that is was Cleon (Dorsey Wright), the Warriors' chief, who killed the legendary leader...
In the confusion, and while the police crowds into the park and the congregated gangs flee, Cleon 'get busted' by those who think he murdered Cyrus...
Without their leader, the Warriors 'got to stick together, and fight-to-survive.' They attempt to make the long hazardous journey to Coney Island hunted by every gang and cop...
Swan (Michael Beck), the cool headed 'war chief,' assumes command... Of his followers only Ajax (James Remar) gives him trouble...
Their perilous journey home is filled with considerable amount of risks as they face violent encounters with different gangs in many shapes and colors...
'The Warriors' is a film that will make most viewers cringe at times, but you'll forgive the shortcomings and praise the exciting camera-work, the excellent use of music, and the good performance of David Patrick Kelly, the best soft-spoken killer since Andy Robinson in "Dirty Harry."
The great moment in the movie is when Patrick Kelly, clicking together three soda bottles, coaxes the Warriors out of hiding by whining over and over, "Warriors, come out and play!"
It is night in New York city... Nine leather-vested members of this small bunch, board a subway leaving their Coney Island turf and travel to Van Cortland Park in The Bronx...
The 'Warriors' are only one of many in New York street gangs who have sent representatives to a unification meeting called by Cyrus (Roger Hill), the lord of the largest and most powerful gang in the city, the Gramercy Riffsa black gang all in their silk pajamas and Kung Fu shirts...
Cyrus speaks to the huge gathering, explaining that all the gangs must unite, that together they outnumber the police three to one, that together they can consolidate forces and rule the city...
There is wild cheering... And suddenly, out of no where, a mean, small-minded person pulls his gun and shoots to kill...
The cowardly little guy of the Rogues quickly yells out that is was Cleon (Dorsey Wright), the Warriors' chief, who killed the legendary leader...
In the confusion, and while the police crowds into the park and the congregated gangs flee, Cleon 'get busted' by those who think he murdered Cyrus...
Without their leader, the Warriors 'got to stick together, and fight-to-survive.' They attempt to make the long hazardous journey to Coney Island hunted by every gang and cop...
Swan (Michael Beck), the cool headed 'war chief,' assumes command... Of his followers only Ajax (James Remar) gives him trouble...
Their perilous journey home is filled with considerable amount of risks as they face violent encounters with different gangs in many shapes and colors...
'The Warriors' is a film that will make most viewers cringe at times, but you'll forgive the shortcomings and praise the exciting camera-work, the excellent use of music, and the good performance of David Patrick Kelly, the best soft-spoken killer since Andy Robinson in "Dirty Harry."
The great moment in the movie is when Patrick Kelly, clicking together three soda bottles, coaxes the Warriors out of hiding by whining over and over, "Warriors, come out and play!"
on the streets, it's get tough or die trying
lee_eisenberg4 July 2020
I had heard about "The Warriors" for years but only now got around to seeing it. This gritty, violent, and all-around lovable movie makes it sad that Walter Hill saw the quality of his movies decline over the years. The gangs here have no choice but to accomplish their goal, made all the more difficult by the pitiless setting.
I watched the director's cut, with Hill noting that he emphasized the comic book connection. Said connection doesn't subtract from the quality at all; it actually reminded me of George Romero's "Creepshow".
Basically, you haven't understood authentic action cinema until you've seen this movie (it's a whole lot more realistic than the repetitive, crummy movies starring Tom Cruise). Definitely check it out.
So yes, can you dig it?
I watched the director's cut, with Hill noting that he emphasized the comic book connection. Said connection doesn't subtract from the quality at all; it actually reminded me of George Romero's "Creepshow".
Basically, you haven't understood authentic action cinema until you've seen this movie (it's a whole lot more realistic than the repetitive, crummy movies starring Tom Cruise). Definitely check it out.
So yes, can you dig it?
A Coney gang accused of murder is pursued by violent urban tribes through N.Y.
ma-cortes7 February 2010
The gangs of New York reunite in Riverside Drive Park, there a leader is murdered and the Warriors (Michael Beck, James Remar,Wright, Brian Tyler, among others) are accused of crime (Roger Hill). When they attempt to make their way home are pursued by all weird bands in rare dress as the Baseball Furies, Punks, Lizzies and several others. While a gang's female (Deborah Van Valkenburgh) is recruited and falling in love with the leader (Michael Beck). They must return Coney Island throughout a surrealist city transformed into a phantasmagoric labyrinth full of urban tribes and finally confronting a nasty gang leader (David Patrick Kelly).
This exciting picture packs noisy action, thrills, tension ,suspense, fights and lots of comic book style violence. It's a dangerous trip of heroic dimensions , as it's said that turns out to be a special version from ¨Anabasis¨ by Xenophon or ¨Back the ten thousand¨, a known epic Greek. Filming completely on New York locations at night with superb photography by Andrew Laszlo. Screeching and stirring musical score in the 70s style by Barry De Vorzon. Lavishly produced by Joel Silver , Lawrence Gordon, Frank Marshall, three future successful producers. The motion picture is stunningly directed by Walter Hill who subsequently achieved several hits such as ¨Hard times¨, ¨The driver¨, ¨Streets of fire¨, ¨Long riders¨, ¨Crossroads¨ and ¨Red Heat¨, among them. The flick will appeal to action movies fans and Walter Hill enthusiasts. Rating : Better than average. Well worth watching.
This exciting picture packs noisy action, thrills, tension ,suspense, fights and lots of comic book style violence. It's a dangerous trip of heroic dimensions , as it's said that turns out to be a special version from ¨Anabasis¨ by Xenophon or ¨Back the ten thousand¨, a known epic Greek. Filming completely on New York locations at night with superb photography by Andrew Laszlo. Screeching and stirring musical score in the 70s style by Barry De Vorzon. Lavishly produced by Joel Silver , Lawrence Gordon, Frank Marshall, three future successful producers. The motion picture is stunningly directed by Walter Hill who subsequently achieved several hits such as ¨Hard times¨, ¨The driver¨, ¨Streets of fire¨, ¨Long riders¨, ¨Crossroads¨ and ¨Red Heat¨, among them. The flick will appeal to action movies fans and Walter Hill enthusiasts. Rating : Better than average. Well worth watching.
Can you dig it? Well actually yes Mr Hill, I bloody can!
hitchcockthelegend4 March 2008
During my schooling as a teenager there were a handful of films that it was deemed cool to love, The Wanderers, Scum, Quadrophenia and The Warriors, and it's perhaps a weird thing to say... but I still feel here in my middle age that these are still cool films to be adored and cherished.
I have just sat through The Warriors again for about the hundredth time in my life, and it still entertains me as much now as it did back then, sure it's dated, sure I see more cheese than I thought it had back then, but I also see a visually tight movie that actually delves interestingly into the lives and psyche of young gangers.
The plot is simple, all the gangs of New York City are called to a meeting where they are called to unite to take over the city, the leader of the gang known as The Riffs is a guy called Cyrus who is the one calling for the unity. He is shot and killed during the rally and The Warriors are wrongly framed for his murder. The Warriors then have to make their way back home to Coney Island with every gang in the city out to kill them, and also with the police hot on their tail as well. This journey is excellent as we are introduced to a number of gangs trying to get the better of The Warriors, the fights are well choreographed, the clothes are wonderful, and some of the dialogue is now teenage folklore.
The film was criticised on release for glamorising gangs, but I fail to see how this opinion was formed, if anything, when analysing the main characters, the film has a sad streak running through it. Be that as it may, the films triumph is getting the will of the viewer to hopefully see the unfairly tarnished Warriors make it home to Coney Island, which builds to the climax of the film that is both poignant and punch the air greatness. 8/10
I have just sat through The Warriors again for about the hundredth time in my life, and it still entertains me as much now as it did back then, sure it's dated, sure I see more cheese than I thought it had back then, but I also see a visually tight movie that actually delves interestingly into the lives and psyche of young gangers.
The plot is simple, all the gangs of New York City are called to a meeting where they are called to unite to take over the city, the leader of the gang known as The Riffs is a guy called Cyrus who is the one calling for the unity. He is shot and killed during the rally and The Warriors are wrongly framed for his murder. The Warriors then have to make their way back home to Coney Island with every gang in the city out to kill them, and also with the police hot on their tail as well. This journey is excellent as we are introduced to a number of gangs trying to get the better of The Warriors, the fights are well choreographed, the clothes are wonderful, and some of the dialogue is now teenage folklore.
The film was criticised on release for glamorising gangs, but I fail to see how this opinion was formed, if anything, when analysing the main characters, the film has a sad streak running through it. Be that as it may, the films triumph is getting the will of the viewer to hopefully see the unfairly tarnished Warriors make it home to Coney Island, which builds to the climax of the film that is both poignant and punch the air greatness. 8/10
A short history lesson
PantherMonterey6 November 2004
I was working in a movie theater when The Warriors first came out, and remember well the flick and the hype surrounding it. Here's a few notes to clear up some misconceptions that many other commentors seem to have.
The flick was NOT ever intended to be an accurate portrayal of New York gang life, although there were some realistic elements. At the time it was generally accepted that it took place in the future, although nothing in the movie supports this. At best it can be considered an urban fable that takes place in a sort-of-imaginary world. You know, like Pulp Fiction (you think 90s LA gangsters dressed like that??).
Second, the film itself was not accused of inciting violence. Problem was, it was a VERY popular film with gang members, who would show up in force. Two rival gangs would show up at the same theater, and... you can figure the rest out yourself. One guy was killed on the first weekend the movie was playing in New York; after that, the distributor hired off-duty police for security at every theater across the country that showed the flick. In the small-town Midwest where I lived, this served more as advertising hype than anything else.
Finally, it was widely known back in the day that The Warriors was based on the ancient Greek nonfiction tale Anabasis, written around 370 BC by the Spartan general Xenophon (it's also published under the title The Persian Expedition). In this classic tale, a battalion of 10,000 Spartan mercenaries join the Persian emperor Cyrus for a war in Asia Minor (i.e. Turkey). Cyrus's army is defeated, the Spartan leaders are captured, and the remaining force must make their way across country, fighting various hostile tribes along the way, experiencing their own internal power struggles, until they reach the safety of the sea. I'm shocked that only one reviewer seemed to be familiar with this; in the 70s almost nobody talked about the movie without mentioning it.
Great flick, by the way, and it holds up extremely well over time. I'm sure the remake will suck.
The flick was NOT ever intended to be an accurate portrayal of New York gang life, although there were some realistic elements. At the time it was generally accepted that it took place in the future, although nothing in the movie supports this. At best it can be considered an urban fable that takes place in a sort-of-imaginary world. You know, like Pulp Fiction (you think 90s LA gangsters dressed like that??).
Second, the film itself was not accused of inciting violence. Problem was, it was a VERY popular film with gang members, who would show up in force. Two rival gangs would show up at the same theater, and... you can figure the rest out yourself. One guy was killed on the first weekend the movie was playing in New York; after that, the distributor hired off-duty police for security at every theater across the country that showed the flick. In the small-town Midwest where I lived, this served more as advertising hype than anything else.
Finally, it was widely known back in the day that The Warriors was based on the ancient Greek nonfiction tale Anabasis, written around 370 BC by the Spartan general Xenophon (it's also published under the title The Persian Expedition). In this classic tale, a battalion of 10,000 Spartan mercenaries join the Persian emperor Cyrus for a war in Asia Minor (i.e. Turkey). Cyrus's army is defeated, the Spartan leaders are captured, and the remaining force must make their way across country, fighting various hostile tribes along the way, experiencing their own internal power struggles, until they reach the safety of the sea. I'm shocked that only one reviewer seemed to be familiar with this; in the 70s almost nobody talked about the movie without mentioning it.
Great flick, by the way, and it holds up extremely well over time. I'm sure the remake will suck.
The gangs of New York
paul2001sw-130 May 2010
New York City is at its grimiest in Walter Hill's 1970s film, 'The Warriors'; but the film is more entertainment than social commentary. In fact, it feels more like the set-up for a computer game than a movie. A number of implausibly mixed-race youth gangs gather in the Bronx to hear a proposal from the leader one of them that they should unify; the gangs are also strangely clean in a certain sense, interesting in clothes, women and fighting but apparently not involved in drug-dealing or other serious crime. Anyway, someone shoots the leader and a gang from Coney Island are (wrongly) suspected; they have travel home by subway right across the city at night, with the resident gang of each neighbourhood they pass through out to stop them from doing so. A lot of this film is frankly ridiculous; yet it is a great B-movie premise, and director Walter Hill was an expert at this sort of tough no-nonsense nonsense. It's certainly not 'The Wire'; but it is surprisingly fun, even from a distance of 30 years.
Kinetic Cult Classic
tieman647 April 2010
Warning: Spoilers
Ah, the 70s, the decade when a genre director like Walter Hill could turn a film like "The Warriors" into some kind of adrenaline fuelled comic book masterpiece. Release this film in any other decade and it would be torn to shreds. But the 70s? No way man. In the 70s, hacks made great films, and even crappy films oozed a kind of electric immediacy.
Of course it's important to remember that we had all kinds of factors affecting American cinema in the 60s and 70s. Vietnam, various feminist and civil rights movements, the invigorating influences of the British, French and Italian new waves, Watergate, the pill, hippies, drugs, the dismantling of the Empires, the documentary boom, the sexual revolution etc etc. People believed they could change things. That films could set people free. There was hope, man!
Of course, disillusionment then set in. By the 80s, Ashby would turn to drugs, Coppola would take up a career in sucking, Kubrick would take increasingly long hiatuses, Lumet and Altman would be relegated to adapting stage plays, Kurosawa would be recovering from a suicide and Antonioni, Bergman and Fellini might as well have been dead, Woody Allen churning out some Fellini/Bergman pastiche once a year...in English. Who needs them?
So it was back to business. Back to wish-fulfilment cinema, only now films like "Godfather" and "Jaws" had led to violence becoming the ultimate cinematic cumshot. Elsewhere set-piece cinema was the norm, continuous titillation the raison d'etre of most films, whilst modern gadgetry led to a vampiric obsession with "remaking" or "correcting" narratives of the past with "new" techno-wizardry.
By the time the 80s ended, guys like Spielberg, Lucas and Zemeckis had six of the ten top grossing films of the decade, blockbusters were drawing in previously unheard of sums of money, advertising levels had soared and global blanket releases were pushing more and more films off screens. In the early 90s indie markets began to spring up, but by the end of that decade indie festivals like Sundance would likewise be homogenized and Hollywoodized, the cinematic revolution once again moving elsewhere, this time to the Middle East and Asia.
And so we wax nostalgically about the 70s, that oddball age of American cinema when the social cocktail was such that a guy like Walter Hill could turn a wacky plot into some kind of kinetic masterpiece.
Set in the near future, "The Warriors" revolves around a street gang who find themselves stuck in the Bronx as they try desperately to get back to their home turf in Coney Island. The problem is, every gang in the city is out to get them, not to mention the cops. Sounds juvenile? It is. But the film nevertheless oozes ambiance. Shot on location and almost entirely at night, Hill and cinematographer Andrew Laszlo create a world of dark shadows, fluorescent bulbs, rain slick streets and moody nightmare. Elsewhere Hill uses careful compositions to evoke comic book panels and the splash designs of graphic novels. These panels are emphasised in the DVD director's cut of the film, much to the anger of the film's fans. But these changes are essential in undercutting or highlighting the film's juvenile appeal, Hill recognising that "The Warriors" essentially plays out like an adolescent fantasy in which wannabe tough guys roam the streets at night without parental supervision, doing as they please.
Unsurprisingly, the film was based on "Anabasis" by Greek writer Xenophon. Both aim to resonate on a mythical level, both striped down hymns to bloodshed and bravery. In Hill's case he charters the gang's Spartanesque battle from the Bronx to Coney Island, the director ratcheting up the tension at every opportunity. Of course the majority of Hill's films are Western's in disguise, and so here he likewise tries to have every line of dialogue, every shot, boom with a kind of mythic weight. But what's interesting is that literally every line in this film fails completely, none of the actors (all of whom seem amateurish or camp) able to project themselves into that archetypal space...and yet the film still works. I've never seen a film have every line of dialogue ring this false, and yet, due to the bare-bones nature of its plot, parred down dialogue, script and compositions, still resonate on the level of legend.
When "Warriors" was first released, people initially linked it to such "urban violence" movies as "Death Wish" and "Dirty Harry", or such nostalgic gang movies as "The Wanderers" and "The Lords of Flatbush". But in reality "The Warriors", which was released in 1979, ends the 70s by mirroring the existential road movies that began the decade (Two Lane Blacktop, Vanishing Point, Easy Rider, Electric Glide in Blue etc). And so it begins with men emerging from a dark tunnel and then watches as they battle their way from ugly urbanism to idyllic beaches, gazing to infinity whilst the lyrics "Somewhere out on that horizon, out beyond them neon lights, I know there must be something better, but there's no where else in sight" booming on the soundtrack. Rather than salivating over urban violence, or fighting, the film's central metaphor is "running", is "flight" rather than "fight", our gang members finding no value in what is being fought over, the inner city a cesspit in which its wide eyed dreamers hope to escape, just like the drug fuelled hippies of "Vanishing Point" and "Easy Rider". Today, this kind of dreamy existentialism is a now banalized facet of modern noir, our heroes all hoping to escape to some non-existent fantasy land on the horizon.
8.5/10 - Worth two viewings.
Of course it's important to remember that we had all kinds of factors affecting American cinema in the 60s and 70s. Vietnam, various feminist and civil rights movements, the invigorating influences of the British, French and Italian new waves, Watergate, the pill, hippies, drugs, the dismantling of the Empires, the documentary boom, the sexual revolution etc etc. People believed they could change things. That films could set people free. There was hope, man!
Of course, disillusionment then set in. By the 80s, Ashby would turn to drugs, Coppola would take up a career in sucking, Kubrick would take increasingly long hiatuses, Lumet and Altman would be relegated to adapting stage plays, Kurosawa would be recovering from a suicide and Antonioni, Bergman and Fellini might as well have been dead, Woody Allen churning out some Fellini/Bergman pastiche once a year...in English. Who needs them?
So it was back to business. Back to wish-fulfilment cinema, only now films like "Godfather" and "Jaws" had led to violence becoming the ultimate cinematic cumshot. Elsewhere set-piece cinema was the norm, continuous titillation the raison d'etre of most films, whilst modern gadgetry led to a vampiric obsession with "remaking" or "correcting" narratives of the past with "new" techno-wizardry.
By the time the 80s ended, guys like Spielberg, Lucas and Zemeckis had six of the ten top grossing films of the decade, blockbusters were drawing in previously unheard of sums of money, advertising levels had soared and global blanket releases were pushing more and more films off screens. In the early 90s indie markets began to spring up, but by the end of that decade indie festivals like Sundance would likewise be homogenized and Hollywoodized, the cinematic revolution once again moving elsewhere, this time to the Middle East and Asia.
And so we wax nostalgically about the 70s, that oddball age of American cinema when the social cocktail was such that a guy like Walter Hill could turn a wacky plot into some kind of kinetic masterpiece.
Set in the near future, "The Warriors" revolves around a street gang who find themselves stuck in the Bronx as they try desperately to get back to their home turf in Coney Island. The problem is, every gang in the city is out to get them, not to mention the cops. Sounds juvenile? It is. But the film nevertheless oozes ambiance. Shot on location and almost entirely at night, Hill and cinematographer Andrew Laszlo create a world of dark shadows, fluorescent bulbs, rain slick streets and moody nightmare. Elsewhere Hill uses careful compositions to evoke comic book panels and the splash designs of graphic novels. These panels are emphasised in the DVD director's cut of the film, much to the anger of the film's fans. But these changes are essential in undercutting or highlighting the film's juvenile appeal, Hill recognising that "The Warriors" essentially plays out like an adolescent fantasy in which wannabe tough guys roam the streets at night without parental supervision, doing as they please.
Unsurprisingly, the film was based on "Anabasis" by Greek writer Xenophon. Both aim to resonate on a mythical level, both striped down hymns to bloodshed and bravery. In Hill's case he charters the gang's Spartanesque battle from the Bronx to Coney Island, the director ratcheting up the tension at every opportunity. Of course the majority of Hill's films are Western's in disguise, and so here he likewise tries to have every line of dialogue, every shot, boom with a kind of mythic weight. But what's interesting is that literally every line in this film fails completely, none of the actors (all of whom seem amateurish or camp) able to project themselves into that archetypal space...and yet the film still works. I've never seen a film have every line of dialogue ring this false, and yet, due to the bare-bones nature of its plot, parred down dialogue, script and compositions, still resonate on the level of legend.
When "Warriors" was first released, people initially linked it to such "urban violence" movies as "Death Wish" and "Dirty Harry", or such nostalgic gang movies as "The Wanderers" and "The Lords of Flatbush". But in reality "The Warriors", which was released in 1979, ends the 70s by mirroring the existential road movies that began the decade (Two Lane Blacktop, Vanishing Point, Easy Rider, Electric Glide in Blue etc). And so it begins with men emerging from a dark tunnel and then watches as they battle their way from ugly urbanism to idyllic beaches, gazing to infinity whilst the lyrics "Somewhere out on that horizon, out beyond them neon lights, I know there must be something better, but there's no where else in sight" booming on the soundtrack. Rather than salivating over urban violence, or fighting, the film's central metaphor is "running", is "flight" rather than "fight", our gang members finding no value in what is being fought over, the inner city a cesspit in which its wide eyed dreamers hope to escape, just like the drug fuelled hippies of "Vanishing Point" and "Easy Rider". Today, this kind of dreamy existentialism is a now banalized facet of modern noir, our heroes all hoping to escape to some non-existent fantasy land on the horizon.
8.5/10 - Worth two viewings.
You're not supposed to like any of em'. You just want them to get justice.
mark.waltz9 May 2022
Warning: Spoilers
I can dig them coming out to play-aye. "Now for that group out there that a hard time getting home. Sorry about that." I didn't recognize Lynne Thigpen at first as the DJ warning the Warriors that their days are numbered, or even quicker, their hours. They've been accused of killing gang leader Roger Hill who wants to unite all of New York City's gangs, but someone among the thousands of Big Apple gang members there doesn't want that, and for some reason, the Coney Island based Warriors are accused of the crime. The only mixed-raced gang in the city apparently, they have to get from the Bronx back to Coney, and are set to meet at Union Square to transfer to the the train that heads all the way out, so it's a very long ride and a lot happens along the way. One of them is arrested in the park, another two are distracted by the presence of a female gang (known as the Lizzy's), and rumbles in various parts of the city (most often in a subway station or on a train) results a lot of violence. Of course there are various altercations and chases with the police, and you begin to wonder if anybody in New York does anyting besides police the streets or belong to a gang.
Certainly some of the gang members seem more likable than others, and the charismatic Roger Hill is definitely the Rockstar of gang leaders. But his presence is only brief, and his assassination shocking even if the audience knows it's going to happen. Some of the dialogue is silly, the outfits they wear outlandish and in general, the characters not anybody I'd like to associate with, but it's the theme of protecting oneself after being accused of a crime they are innocent of that makes the plotline mesmerizing, and there is a hope after everything is wrapped up that the remaining gang members will come together and live in harmony. Michael Beck and Deborah Van Valkenburgh are the most familiar names among the cast, and they play their roles completely straight even when the situation is ridiculous. Van Valkenburgh gets the most cliched of lines as a tough chick, but other than a few eye-rolling moments, the film is surprisingly engrossing and above-average. Steven Hill does a great job with a lot of New York City locations, and it's fascinating to see some major subway stops long before renovations were done.
Certainly some of the gang members seem more likable than others, and the charismatic Roger Hill is definitely the Rockstar of gang leaders. But his presence is only brief, and his assassination shocking even if the audience knows it's going to happen. Some of the dialogue is silly, the outfits they wear outlandish and in general, the characters not anybody I'd like to associate with, but it's the theme of protecting oneself after being accused of a crime they are innocent of that makes the plotline mesmerizing, and there is a hope after everything is wrapped up that the remaining gang members will come together and live in harmony. Michael Beck and Deborah Van Valkenburgh are the most familiar names among the cast, and they play their roles completely straight even when the situation is ridiculous. Van Valkenburgh gets the most cliched of lines as a tough chick, but other than a few eye-rolling moments, the film is surprisingly engrossing and above-average. Steven Hill does a great job with a lot of New York City locations, and it's fascinating to see some major subway stops long before renovations were done.
Gangs in New York & Brooklyn
whpratt123 December 2007
This film deals with a Coney Island, Brooklyn gang who go to the Bronx for a large gathering of various gangs from all the boroughs of Manhattan to listen to a man who wants to control all the street gangs and take over the city of New York. The gang called the Warriors are from Coney Island and during the rally the leader is killed and the Warriors are blamed for the killing. Swan, (Michael Beck) is the leader of the Warriors and he has to fight his gang back to Coney Island, but standing in their way are some of the worst cold blooded gangs in New York City. Deborah Van Valkenburgh, (Mercy) gives a great supporting role as the girl friend of Swan, who fight all the time but there is still romance between the both of them. Very different and entertaining film.
Be lookin' good warriors.... all the way back to Coney...
srobi2804 April 2006
Warning: Spoilers
This is one of my favorite movies of all time. A gang from Coney Island called The Warriors travels to the Bronx for a big gang meeting. Only 9 members of every gang are allowed to attend the meeting, unarmed. Over a hundred gangs show up. The leader of the biggest gang (the Riffs), a guy named Cyrus, plans on uniting all the gangs in the city. His plan is cut short by a bullet when a gang member named Luther shoots him. He quickly blames it on the Warriors, who then have to flee the scene along with the other gangs. Not knowing whether the truce is still on, the Warriors head back to Coney. Along the way, they soon discover that every gang in the city thinks they shot Cyrus, and everyone is after them. They have to make it past the crazy Turnbull ACs, the wimpy Orphans, the menacing Baseball Furies, the charming, all-female crew the Lizzies, the Punks, and finally Luther himself, all while constantly dodging police.
The Warriors is a masterpiece that is simply ahead of it's time. The tense atmosphere of the movie makes for a great viewing. The gangs are comic-book like, the fight scenes are the most realistic I have ever seen in any movie, and it contains tons of catchy lines. It is not a realistic portrayal of gang life in the 70s, and it isn't supposed to be. The whole movie is surreal. It isn't totally believable, but it isn't impossible, and I like that. The casting couldn't be better. And the characters are most memorable. Ajax, the big muscle-head; Swan, the leader; Luther, the insane villain who shot Cyrus for no reason because "he likes doing things like that"; Rembrandt, the new blood; the baseball furies; Mercy, the annoying big-mouthed whore; etc. And to top it all off, the music goes incredibly well with the movie. Very memorable, very exciting, and very worth the viewing. What? You're still here? Go watch it!
The Warriors is a masterpiece that is simply ahead of it's time. The tense atmosphere of the movie makes for a great viewing. The gangs are comic-book like, the fight scenes are the most realistic I have ever seen in any movie, and it contains tons of catchy lines. It is not a realistic portrayal of gang life in the 70s, and it isn't supposed to be. The whole movie is surreal. It isn't totally believable, but it isn't impossible, and I like that. The casting couldn't be better. And the characters are most memorable. Ajax, the big muscle-head; Swan, the leader; Luther, the insane villain who shot Cyrus for no reason because "he likes doing things like that"; Rembrandt, the new blood; the baseball furies; Mercy, the annoying big-mouthed whore; etc. And to top it all off, the music goes incredibly well with the movie. Very memorable, very exciting, and very worth the viewing. What? You're still here? Go watch it!
"The Lizzies Are Packing"
ashleyallinson8 February 2005
"Listen boppers", this is a great gang flick that has a small crew chased down by every gang in NYC after they are wrongly accused of killing Cyrus (the local crime boss) at the Bronx Zoo. The Warriors have to make it from the Upper Bronx to Coney Island with every gang in town trying their own unique ways of knocking them off. Baseball mimes, Roller Skating posses, chick gangs, and of course, the "Riffs" do their darnedest to knock off the resilient Coney Island gang before they can make it back to their stomping ground. A local radio announcer (the woman from "Where in the World is Carmen San Deigo?") narrates their progress downtown, tipping off rivals and setting up further confrontation. A great movies for all ages.
A plot less but evocative and entertaining vision of the city that never sleeps
Samiam34 June 2010
Much of what I saw in the Warriors reminded me of S.E. Hinton's once praised novel 'The Outsiders' (adapted for the screen by Francis Coppella a few years after this). However, in terms of how extensive the plotting is, these two stories could not be more different. The Warriors is so thin on story, that feels like a baby step away from a video game. The majority its ninety minute running length is made up of three things, Fighting gangs/cops, running from them, and kissing girls. This would make a very good game actually. I haven't read the book, but as a motion picture, it is surprisingly entertaining, despite some little holes along the road in need of plugging. On top of that, it functions as a fairly convincing portrayal of New York's darker side from thirty years ago.
One night, every gang from every borough of New York (which is about sixty thousand people) goes to the Bronx to hear the words of Cyrus (da boss). In the middle of his speech, someone guns him down and in the chaos, points his finger at nine boys dressed in identical brown leather vests; the Warriors, a gang from Coney Island who spend the rest of the night on the run trying to get back hope.
If I had to guess, I would say John Carpenter's vision for Escape from New York maybe have been influenced in part by this. the Warriors is not a pretty place to be. This motion picture shows the darker more dirty side of New York. There are no Broadway lights, fancy dressers, or bright yellow taxis here. I didn't watch the Warriors on a very big screen but even still, It felt frequently evocative and spooky.
There may be some room for improvement, and there are indeed (among other things) a few shots which could have been framed better. In one, you can see half the film crew standing on the side of the road.
Anyway, The Warriors is worth a watch, because it's neat and if nothing else there are not too many films like this.
One night, every gang from every borough of New York (which is about sixty thousand people) goes to the Bronx to hear the words of Cyrus (da boss). In the middle of his speech, someone guns him down and in the chaos, points his finger at nine boys dressed in identical brown leather vests; the Warriors, a gang from Coney Island who spend the rest of the night on the run trying to get back hope.
If I had to guess, I would say John Carpenter's vision for Escape from New York maybe have been influenced in part by this. the Warriors is not a pretty place to be. This motion picture shows the darker more dirty side of New York. There are no Broadway lights, fancy dressers, or bright yellow taxis here. I didn't watch the Warriors on a very big screen but even still, It felt frequently evocative and spooky.
There may be some room for improvement, and there are indeed (among other things) a few shots which could have been framed better. In one, you can see half the film crew standing on the side of the road.
Anyway, The Warriors is worth a watch, because it's neat and if nothing else there are not too many films like this.
The best of the Best..
Tantive714 October 2001
Walter Hill shows his directing flair again for action, drama and style in this crackling 1979 movie about a Coney Island gang falsely accused of murder and fleeing from everyone....including the other NYC gangs and the New York City Police Department. Set amongst a hostile, nocturnal world of neon lit train stations, baseball bat wielding gang members and lethal women "The Warriors" moves along at a frantic pace with a fine selection of young actors taking the lead. Michael Beck plays the cool headed, "war chief" Swan, seeking to get the other members back home to Coney Island alive and in one piece. James Remar is unforgettable as the woman chasing, hot headed Ajax...always out to prove his manhood with his fists. And David Patrick Kelly is perfect as the murderous, but ultimately cowardly leader of the Rogues. Attending a combined gangs meeting deep in the South Bronx to hear the Gramercy Riffs plans to control the streets of New York, the Warriors are wrongly accused of the shooting death of their charismatic leader, Cyrus. The finger of blame pointed their way, they flee via any means they can and upon their way back to home base encounter violent opposition from the Orphans, the Turnbull AC's, the Baseball Furies and even rifts within their own ranks lead to trouble. A colorful, exciting and fast paced film...at the time of it's original release it drew criticism for allegedly encouraging gang activity, but now seems almost cartoon like in it's displays of violence.Hands down a great film,stands the test of time. 1 million stars
How is there no dancing?
kyla-7230228 May 2023
Periodically we'll be watching something and my husband will point out that a scene or something was clearly inspired by The Warriors. We watched John Wick 4 the other night, and when he pointed out that they reused the radio scene from the Warriors that they already used in John Wick 2, I pointed out that I had in fact, not seen the Warriors. An oversight.
I really enjoyed it. It's a simple get from point A to point B kind of movie. Really nicely shot. A bit of humour, a bit of suspence, a bit of language we don't use anymore, and a whole lot of inexplicable matching costumes. Aparently it was a rebuke to West Side Story, but I would like to see a musical adaptation. It was hard to look menacing in the 70s.
Anyway, I really enjoyed this, and will watch it again. Probably often. Will likely read the book and play the video game too.
I may also begin every morning by stating my intentions for the day to those around me and then yelling: CAN YOU DIG IT?
I really enjoyed it. It's a simple get from point A to point B kind of movie. Really nicely shot. A bit of humour, a bit of suspence, a bit of language we don't use anymore, and a whole lot of inexplicable matching costumes. Aparently it was a rebuke to West Side Story, but I would like to see a musical adaptation. It was hard to look menacing in the 70s.
Anyway, I really enjoyed this, and will watch it again. Probably often. Will likely read the book and play the video game too.
I may also begin every morning by stating my intentions for the day to those around me and then yelling: CAN YOU DIG IT?
the original version vs director's cut
meansween-13 January 2006
I am a massive fan of the original warriors, but hated the directors cut. The comic book wipes from scene to scene seemed to cheapen the whole film. Though the director may have been originally aiming for a more 'fantastic' (for lack of a better word) feel, surely he must realise that the way the movie turned out, with a certain gritty and yet, feel good style, is the way it is meant to be. Slapping a few cartoons here and there instead of a simple wipe doesn't make for a radically different movie, just a spoiled one. And why would the original film, a classic and masterpiece, be discontinued once the new edition is released? there are future and even current generations who may not get a chance to see the original now. If the original DVD edition is going to be discontinued, why can't it be included in the new edition, we all know that it is possible (see alien special edition) am i the only one who has this opinion?
See also
Awards | FAQ | User Ratings | External Reviews | Metacritic Reviews
