Tony Scott’s The Last Boy Scout is book-ended by scenes of violence taking place in football arenas, time-honored spaces of an American pastime. In the opening sequence, a young player walks onto the field and opens fire – an ominous opener that seems especially bleak this far removed from 1991. In the showstopper climax, a sniper stationed high above the action on field is attacked by one of our leads, eventually gunned down by the police and – in the film’s Grand Guignol moment – then falls into the spinning rotor of a helicopter, rendering his body into a mere splatter of blood. In these moments, The Last Boy Scout feels most like Scott’s film, yet everything in between is explicitly from the pen of its writer, Shane Black. Only this time, Black’s war isn’t on Christmas. It’s on America.
Tag: Tony Scott
In the final moments of Tony Scott’s ENEMY OF THE STATE, Will Smith’s character Robert Clayton Dean looks at his all-too-90s CRT TV set with its flickering analog signal and then: he shows up on screen ala some type of closed circuit technology. Scott’s ode to – or prescient telling of – America’s obsession with surveillance, encompasses a few running tropes of thrillers of the 90s, as well as establishes the filmmaker’s ultimate aesthetic going forward. For Scott – especially late 90s through early 2000’s Scott – surveillance and cinema co-mingle to the extent of becoming one, and it all starts with ENEMY OF THE STATE.