Robert Joyner
The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one
katrinwolf
This is probably going to be the least useful review ever, but I'm still going to try. I saw this film about a year ago, during one of the "watch random unknown things" marathon, expecting nothing from it. And when it was over, my reaction could be summed up in "okay, not bad but nothing special, next one". I moved on, being 100% sure that I'll forget about this film in a few days. Yet, after some time, bits of it started returning to me. Again and again and again. Things I didn't think I would care to remember just dropped by my thoughts by themselves without any effort. Then I would start listening to the soundtrack. Then I would look up the names of the characters I couldn't recall. Then I would look at the poster and add it to the list of ones I'd like to put on my wall some day. Then I would look up some scenes. Then... then. Now it's been a year, and I'm re-watching this film, as I rarely do. This little film I was sure I wouldn't remember the day after. I should probably blame the ending. Yeah, I probably should. Beginning with the soundtrack. Tonight Is What It Means To Be Young, written at the very last moment. The song my mind tried to connect with Steinman the first time I heard it and failed to do so. Leading to the moment when, upon watching Dance of the Vampires the musical, I was the only person in the crowd nearly falling out of my seat upon recognition of the song, once again used as the most suitable closing theme. This alone could elevate even the most clichéd ending in existence. Which wasn't the case here. While I'm almost sure there have been similar ones in (probably better) films I've never seen, even aside from Casablanca, an ending in a campy action flick where the guy voluntarily DOESN'T get a girl? Now that's something you don't see every day. And that's the type of thing that gets me, too. That line, "Yeah, she needs me, but she loves you...?" One can feel how much it is placed here as a part of the machine, you see how it's supposed to affect you, you see how it's supposed to work. Usually this lack of subtlety, of "movie magic" covering the mechanisms behind it, leads to the whole thing not working. I thought it wouldn't work. Yet it worked. And that's the case with many things in this film. Blunt and simple. The guy's cool? Well, give him a badass car and a long coat. That guy wants a girl? He'll kidnap her. The bad guy? Let's make him Willem Dafoe in black leather dungarees (haha, oh man, I'm still not over that. I really didn't need to see Willem Dafoe in leather dungarees) They're having a badass fight? Well, guns or fists are for pussies, let's use sledgehammers! Basically a collection of tropes and symbols, if you retell it, it really starts sounding like a modern-day myth or legend. Or a fable, if you please. And if you look at it like that, it works. Do I recommend seeing it? I don't know. I mean, I still cannot fully explain why these little parts of this film keep casually slipping into my head, as there're films that I love that don't do that at all. All I can say is, I don't mind them doing that. And watching it again, I can honestly say I enjoy Streets of Fire. And you might enjoy it, too.
Irishchatter
I honestly did enjoy the film and its soundtrack. I loved the songs "TONIGHT IS WHAT IT MEANS TO BE YOUNG" and "ONE BAD STUD" because they both were just powerful, danceable and just marvelous to hear. The soundtrack reminds me a mix of "Blues Brothers" and "Rock of Ages". Now I have to say, Michael Paré and Willem Dafoe didn't have good wardrobe.I thought the brown shirt Pare had was just disgusting on him, hes not playing a farmer for god sake! As well with Defoe having no shirt on and a black thing around him, he also looked like a farmer guy rather than a greaser. Also the clothes he wore as being the bad guy, looked really too small for him!Good movie, you can't get the songs out of your head because they are just so brilliant! Watch it if you haven't seen it, its really good and has amazing stars in it!
SnoopyStyle
Ellen Aim (Diane Lane) is the lead singer of Ellen Aim and the Attackers. While performing a concert, she's kidnapped right off the stage by Raven (Willem Dafoe) and his motorcycle gang which has been harassing the neighborhood. Reva asks her brother Tom Cody (Michael Paré) to come home and rescue his ex-girlfriend. He befriends tomboy mechanic McCoy (Amy Madigan). They are hired by Ellen's manager and boyfriend Billy Fish (Rick Moranis).I like the neon-colored Rock-and-Roll alternate-universe 50s era. It's weirdly energetic and compelling. Sexy Diane Lane starts it off with a rock performance. This reminds me of Walter Hill's other fable The Warriors except I like this more. Michael Paré used to be leading man material for about two seconds around this time. His masculine ruggedness fits this material. This doesn't work if one takes this too seriously. It's fun like a comic book movie.
