The King of New York

In many of Ferrara's best films, including The King of New York, good and evil are not simply blurred distinctions, they are inseparable. Though this characteristic is more apparent and more powerfully examined in Bad Lieutenant than 'King', there are characters on both sides of the central conflict in this film who are equally disturbing and despicable. The word anti-hero was made for the main characters in this film.

Leading in one of his better roles since Deer Hunter, is Christopher Walken. The support cast is something of an all-star list of genre films - Fishburne, Caruso, Snipes, Giancarlo Esposito, Buscemi... And all of the acting is excellent.

Walken plays a sociopathic organized crime kingpin who has just been released from jail and wants to improve his public image while taking over all of the profitable crime in New York. So, he starts offing the competition and donating to impoverished hospitals, etc. Some have compared Frank White to Robin Hood, but since I find it difficult to think of the English Folk hero as a psychotic with no moral compass whatsoever, I disagree.

Worth seeing for Walken and Fishburne's performances alone, King of New York has, over the years developed something of a cult following. Considering the cast and the directorial talent, this is no surprise. Ferrara makes an entertaining film which, though it doesn't offer a great deal of new material, offers some unique characterizations and avoid devolving into straight action.

Highly recommended for fans of Walken, Fishburne, Caruso and Ferrara. Recommended for crime drama and gangsta film fans. Weakly recommended for Snipes fans.

King of New York(1990) is an excellent movie that is Abel Ferrara's most stylish film. As years go by, King of New York is a film that will be more respected and seen as an example of Ferrara's best work. It was the second best gangster film in 1990 next to Martin Scorsese's Goodfellas. The direction is surpurb and the characters are filled with colorful traits.

King of New York(1990) is a modern reworking of the Robin Hood legend. Its basically about a former drug lord who wants to use drug money to help poor and unfortunate people. Christopher Walken gives one of his five top best performances in the role of Frank. The feature is a neo noir because there are no people except for a couple that are likable.

The violence in this film is very brutal and done with plenty of flair. Frank's plans do not work out as everyone is out to get him(espically the police). Frank is a person who's alive on the outside but dead on the inside. King of New York has been compared to Scarface(1983) but I believe that this movie is closer in spirit to Ringo Lam's City on Fire(1987) and the two Chow Yun Fat/Andy Lau films of Rich & Famous(1986) and Tragic Hero(1987).

Laurence Fishburne gives a very good performance as Frank's loyal right hand man. In fact, all of the action sequences involving him makes the actor the Hollywood B-movie eqevulent of Chow Yun Fat with his two gun act. Steve Buscemi has a bit part as a rival drug dealer. I only wished that the idea of putting a contract on the police was expanded on with a few scenes of many police officers being assassinated by Frank's men.

One scene that is terrific is the scene where the police dressed up as drug dealers who raid and try to terminate Frank and his gang. Another excellent scene is the funeral sequence. The ending is unusually low key for a mafia flick. I would like to see a director's cut of this film released on video because I feel that something's missing from the R-rated version.

King of New York (1990) was Abel Ferrara's return to the his favorite style of film making (the urban street drama). Over the past fifteen years, this movie has achieved a cult status that one would have never imagined. During it's initial release on video, this film was a word-of-mouth hit. I remembered watching this in high school. Although the movie was never a major box office hit, film found an audience when it was released on tape. But the movie's popularity grew even more when rappers made numerous of references to it in music and song.

Christopher Walken stars as a crime lord who has done a stint in prison. Upon his release he begins to rebuild his fledging empire through violence and strong arming. Whilst he rotted in prison, his rivals became strong as they gobbled up his business. With time on his side, Frank launches a plan that'll make him KING OF NEW YORK. Can Frank do it by himself? How will the local authorities re-act to his new found activities? Will his soldiers remain loyal? What will his rivals do? To find out you'll just have to watch it!!

I found this movie to be very good. Abel Ferrara has found his niche audience and he should cater to it. He has a style that a director like Martin Scorese once had.

Highly recommended.

King of New York, while not a classic, is a gritty, drug-lord gangster flick in the same vein as films like 'New Jack City' and 'American Gangster'. If you like this type of movie then King of New York is definitely worth a look. Frank White (Christopher Walken) has just been released from prison and wants to get back together with his gang, take over the New York drug trade, and become a modern robin hood. This little known film somehow flew under the radar when released in 1990 but is just as entertaining as the movies I listed above.

New York detective Dennis Gilley (David Caruso) is sick and tired of seeing drug lords like Frank run amuck in his city and is ready to cross any line…indeed to do whatever it takes, including murder, to take Frank down. Dennis' captain Roy Bishop (the late Victor Argo) wants Frank busted too, but he wants to do it by the book and tries to control his subordinates to no avail.

One prolonged climactic sequence of this movie is virtually worth the price of admission; when Dennis and his group disguise themselves and infiltrate Frank's hideout while they are partying one night. The place erupts in a frenzy of gunfire as we try to distinguish just who is who and eventually the scene spills outside and evolves into a high speed car chase and shoot out as the cops chase Frank and his number two man Jimmy Jump (Laurence Fishburne) through the streets of New York. This protracted scene lasts about 15 minutes and is dynamite….you may find yourself rewinding to watch it again!

There is no conventional movie ending here, in fact it is a rather bleak and downcast wrap-up, but then this is no typical Hollywood film. The acting however is top notch, with Walken delivering as usual, Caruso bringing a surprising amount of intensity to his role, and the then-unknown Wesley Snipes effective as Caruso's partner. The standout to me though is Fishburne, who gives an over the top performance as the psychotic, volatile Jimmy Jump. It's worth watching for this performance alone. That is….if you like an action packed, violent gangster film…and if not, you're probably not still reading this anyway, so enjoy.

Crime lord Frank White (Christopher Walken) is released from prison, and on his long drive back to New York City, witnesses the filth his city has descended into since his incarceration. His old friend Jimmy Jump (Laurence Fishburne) has just wiped out a Colombian drug operation and welcomes Frank back with a suitcase full of money and cocaine. Eager to win his city back, and also help fund the saving of an inner city hospital through his drug operation, he sets the wheels to his crowning in motion. But cops Roy Bishop (Victor Argo), Gilley (David Caruso) and Flanigan (Wesley Snipes) are on his case, but after struggling to bring Frank in under regulations, resort to more illegal methods of getting him off the streets.

King of New York was booed upon its initial screenings, with mass walk- outs and cult director Abel Ferrara being bombarded with uncomfortable questions. Audiences were apparently appalled by the films seemingly glamorous depiction of man who was essentially a homicidal maniac, encouraging violence and sleaze wherever he went. The film is certainly guilty of that, but the character of Frank is a little different to the likes of Tony Montana or Henry Hill. He seems to style himself as a champion of the lower-classes, using his influence and vast wealth to push a councilman to put forth the money to save a hospital in a poverty-stricken area, and then fund it himself when that fails. He and his girlfriend Jennifer (Janet Julian) are robbed on the subway by inner-city youths. Frank shown them his gun, and they back off, but Frank throws them a wad of money and tells them there is work for them if they want it. A crime-lord he may be, but is he any worse than the fat politicians that soak up the city's money, or the bent cops that are on his back?

In Walken's hands, White is a charismatic, unconventional crime boss, and is in turns charming, strange, and deranged. It's a fabulous performance, but for me it was Laurence (here still credited as Larry) Fishburne that steals the show, as the swaggering, loud-mouthed gun-man Jimmy ("yo, where the chicken at?" he says after killing a cop), a man of such ridiculous posturing that he almost becomes a cartoon character. And this is one of the main reasons I loved this film. It is, at times, so outlandishly over-the-top that it should betray its gritty roots, but its so steeped in atmosphere and that key element, grime, that it becomes a fantasy-laden, insane ride amongst a decaying city and one its most colourful characters.

For anyone who has seen the work of Abel Ferrara, especially two of his most popular films, The Driller Killer (1979) and Bad Lieutenant (1992), will know what they are in for. His New York is not the one you see in the earlier works of Woody Allen, but one of whacked-out prostitutes, cocaine-sniffing criminals, inner-city poverty, and angry, sweaty, middle-aged detectives. We do glimpse the glitzier side of the city in King of New York, as Frank often mingles with the politicians and power- players, but it is a world of black suits and orange lighting, and a world that shares the same depravity and sleaze as the lower-classes. It's a grim thing to see through Abel Ferrara's gaze, but boy is it brimming with atmosphere. This will always play second or third fiddle to the likes of Scarface (1983), but King of New York is the film the former could never be, and in its own depressing way, is a much better film. Undoubtedly Ferrara's finest, and most 'polished' work.

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