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THE REWATCHABLES · March 16, 2026

To Live And Die In L.A.

A 1985 action / crime / thriller / noir movie directed by William Friedkin—and decision no. 99 in the Hanks–Cruise tape.

ActionCrimeThrillerNoir1980sDirected by William Friedkin
To Live And Die In L.A.1985MOVIE
Podcast episode#440No. 451 overall
Movie year19851980s release
Tomatometer89%No. 40 of 128 tracked
Metacritic81View score
Roger Ebert4/4Original star rating
State of the raceCruise led by 346–49 · 4 ties

FROM THE CONVERSATION

What they said about the movie

The hosts argue that To Live and Die in L.A. is a vicious, highly rewatchable, low-star-driven crime thriller whose appeal comes from Friedkin’s grimy Los Angeles locations, Wang Chung’s music, tactile counterfeiting details, and the reckless chemistry between its leads. They frame it as a dark comeback film for Friedkin and a movie that feels even better now in 4K, despite the studio’s discomfort with its bleak ending.
Based only on this episode’s transcriptTimes approximateSpeakers were clearly identifiedExplore the connections

WHY IT WORKS

What made it rewatchable

  1. 01Wang Chung score and title sequence make the opening instantly energizing and memorable. About 40 min
  2. 02The counterfeit-money process is shown as a tactile, fascinating craft sequence. About 56 min
  3. 03The long car chase is treated as a benchmark action sequence and a major reason to revisit the film. About 48 min
  4. 04The movie’s Los Angeles locations give it a lived-in, fossilized city texture that rewards repeat viewing. About 8 min
  5. 05The film’s extreme darkness and unflattering treatment of nearly everyone makes it unusually bold. Opening minutes

WHAT DID NOT WORK

Their main criticisms

  1. majorThe studio was unhappy with the original ending and forced an alternate ending that the hosts call atrocious. About 56 min
  2. moderateSeveral of the performances and casting choices are debated, especially John Pankow as Vukovic. About 1:20
  3. moderateThe movie’s sex scene and nudity are so explicit that even Friedkin later trimmed material. About 24 min
  4. moderateChance is not actually very good at his job and makes many reckless choices. About 1:36
  5. minorSome scenes, especially the alternative ending and a few late-story beats, are seen as tonally odd or from a different movie. About 1:44

SCENES THEY KEPT COMING BACK TO

Standout moments

Favorite

Opening credits and Wang Chung sequence

The title sequence and first song burst are treated as pure 1985 excess and a perfect tone-setter.

About 40 min
Favorite

Counterfeit money-making montage

The process of printing and aging the fake bills is described as hypnotic and cool.

About 56 min
Favorite

Hotel / airport pursuit and chase

Petersen’s physical performance and the pursuit through airport spaces are praised as adrenaline-heavy set pieces.

About 48 min
Favorite

The long highway car chase

The highway chase is singled out as one of the greatest ever filmed and a reason the movie lives on.

About 48 min
Favorite

Petersen and Fluegel sex scene

The explicit, uncut-feeling sex scene is remembered as wildly daring 80s filmmaking.

About 24 min
mixed

Prison-yard / Turturro danger sequence

The prison material is vivid and suspenseful, with Turturro’s vulnerability standing out.

About 56 min
critical

Final confrontation and ending

The ending is memorable but controversial, especially because the studio changed it.

About 56 min

WHERE THEY DISAGREED

The biggest debates

They partly agreed About 8 min

Was the movie a Miami Vice ripoff or simply part of the same era?

Bill Simmons

It was unfairly viewed as a Miami Vice ripoff and was hurt by that timing.

Chris Ryan

The similarities are mostly superficial; the movie is its own thing.

No final agreement About 1:20

How good is John Pankow as Vukovic?

Bill Simmons

He fits the movie and has chemistry, though the role may have been miscast.

Chris Ryan

He is the weak link and needs more darkness or edge.

They partly agreed About 1:36

Is Richard Chance actually competent at his job?

Bill Simmons

He is reckless, breaks rules, and makes many bad choices.

Chris Ryan

His willingness to cross lines is part of what makes him compelling, not competent.

They left it as a friendly argument About 1:36

Could the movie’s counterfeiting business make sense economically?

Bill Simmons

It seems like a bad business because of cost, risk, and slim upside.

Chris Ryan

It works as an artistic/criminal hybrid, even if the economics are sketchy.

10 People discussedActors, directors, writers, and producers
16 Conversation takesSpeakers shown only where the transcript identifies them
Bill SimmonsLoved it

To Live and Die in L.A. as a comeback for Friedkin

Frames it as Friedkin reasserting himself after commercial disappointments and stripping back to core crime-thriller strengths.

Opening minutes
Bill SimmonsMixed

Miami Vice influence and release timing

Argues the film was hurt by arriving too close to Miami Vice, even though it later became a cult favorite.

About 8 min
Bill SimmonsLoved it

The Wang Chung title sequence

Treats the opening music-and-graphics run as a perfect example of 1985 style.

About 40 min
Bill SimmonsLoved it

The counterfeit-money process

Says the money-making scenes are mesmerizing and the kind of procedural detail he loves in movies.

About 56 min
Bill SimmonsLoved it

William Petersen as a star

Argues Petersen had movie-star physicality and charisma comparable to major 80s leading men.

About 24 min
Bill SimmonsMixed

William Petersen’s career choices

Says Petersen missed a chance to become a top-tier movie star because he passed on or zigged away from major roles.

About 16 min
Bill SimmonsLoved it

Willem Dafoe as a villain

Thinks Dafoe is one of the great villains and is unusually brave in how far he goes here.

About 24 min
Bill SimmonsLoved it

The car chase

Calls the chase one of the greatest ever and a reason the film endures.

About 48 min
Bill SimmonsLoved it

The explicit sex scene

Treats the scene as astonishingly explicit and one of the movie’s memorable shocks.

About 24 min
Bill SimmonsDid not like it

The original ending versus the alternate ending

Prefers the dark original ending and thinks the studio’s alternate version is terrible.

About 56 min
Chris RyanLoved it

To Live and Die in L.A. as a grim crime movie

Says it is exactly the kind of dark, cynical crime thriller they love and that it holds up because of that.

Opening minutes
Chris RyanLoved it

William Petersen

Sees Petersen as uniquely watchable, physically capable, and central to the film’s appeal.

About 24 min
Chris RyanLoved it

Robby Müller / production design / location work

Credits the collaborators for making the city feel tactile, desolate, and full of visual discovery.

About 16 min
Sean FennesseyLoved it

Comparison to French Connection and other grimy LA crime films

Places the movie in a lineage of nasty, practical crime films and says it feels more like seventies grit than eighties gloss.

About 8 min
Sean FennesseyLoved it

Willem Dafoe

Highlights Dafoe’s early, fearless villain work and how he could play both monster and artist.

About 24 min
Sean FennesseyLoved it

Counterfeiting as movie material

Likes the film because it teaches the viewer about a specific world through detail rather than exposition.

About 56 min
5 ThemesThe larger ideas in the discussion

Thin line between cop and criminal

They repeatedly frame the film as Friedkin’s statement on cops becoming too close to the people they chase.

Opening minutes

Los Angeles as a character

The film’s LA is treated as a grim, industrial, sunburned landscape rather than a glamorous city.

About 8 min

Art meets low-life crime

The hosts love the juxtaposition of fine art, design, and disciplined craftsmanship with counterfeiting and murder.

About 16 min

Male-coded movie energy

They repeatedly suggest the film is especially appealing to male viewers and male hangout culture.

About 8 min

Risk and recklessness in filmmaking

They admire that Friedkin and the crew actually risked things to stage the action and effects.

About 48 min
24 Facts and referencesProduction notes and other movies mentioned

Production note

Friedkin added the opening terrorist sequence, the car chase, and some other material after the original setup was in place.

About 24 min

Production note

The film reportedly made about $17 million on a $6 million budget.

About 8 min

Production note

Fake money from the production reportedly leaked into circulation.

About 56 min

Production note

The movie’s car chase involved shutting down a major Los Angeles highway.

About 48 min

Production note

Petersen did several stunts himself, including the bungee jump and demanding rooftop work.

About 24 min

Production note

The sex scene was so explicit that Friedkin reportedly cut a videotaped version from the film.

About 24 min

Production note

Friedkin reportedly wanted Wang Chung to make the score, then changed the movie around the title song after hearing it.

About 40 min

Production note

A real painting was burned in the movie.

About 48 min

Production note

The film’s alternate ending sends Chance and Vukovic to Alaska.

About 1:28

Miami Vice

Used as the main comparison point for the movie’s style, timing, and public reception.

About 8 min

French Connection

Used as a model for Friedkin’s stripped-down crime style and as a comparison for cop thrillers.

Opening minutes

Heat

Mentioned as a template for the cops/criminals-on-the-line dynamic.

Opening minutes

Paris, Texas

Referenced as the visual inspiration for Friedkin’s LA look through Robbie Müller.

About 16 min

Repo Man

Named as another Müller-shot LA film in the same general creative orbit.

About 16 min

Beverly Hills Cop

Used as the opposite of this film’s gritty, non-Hollywood LA geography.

About 16 min

The French Connection

Referenced again when discussing Friedkin’s style and car-chase pedigree.

About 48 min

It Happened One Night

Mentioned during a side story about Oscar history and write-in voting.

About 1:04

Of Human Bondage

Seen on a TV within the film and used for an Oscar-history tangent.

About 1:04

The Exorcist

Used as an example of Friedkin’s recurring music choices and taste.

About 40 min

Sorcerer

Referenced as another dangerous Friedkin production and another example of his comeback/legacy.

About 48 min

Lethal Weapon

Used for the 'too old for this shit' line comparison.

About 48 min

The Untouchables

Used as a comparison point for Andy Garcia and crime-movie casting.

About 1:20

CSI

Referenced as the later career jackpot for Petersen.

About 16 min

Body Double

Used by Chris Ryan as part of a favorite grimy-80s-LA-film cluster.

About 2:00
11 Running jokes and short linesRecurring bits captured from the conversation

CR Month / movie-picking month

The hosts keep joking about the ongoing 'CR Month' run of choices and the poll for the next movie.

Opening minutes

Wang motherfucking Chung

A repeated joke and chant centered on the soundtrack band.

About 40 min

High-art / low-culture sweet spot

A recurring framing for movies that combine grimy crime worlds with artistic or stylish craftsmanship.

About 16 min

Dan Campbell scale / gratuitous 80s nudity

A bit used to rate how far the movie goes with explicitness.

About 24 min

Quentin Daly basketball digression

A long sports tangent about Chance’s bizarre Bulls take becomes a running joke about 1985 authenticity.

About 1:36

Counterfeit-money economics debate

They keep joking about whether counterfeiting is even a sensible criminal enterprise.

About 1:36

Bill Simmons

“Wang motherfucking Chung.”
About 40 min

Bill Simmons

“I'm getting too old for this shit.”
About 48 min

Bill Simmons

“If you want bread, fuck a baker.”
About 56 min

Chris Ryan

“He's Dennis Peck's a full 10.”
About 24 min

Bill Simmons

“He has a gun like a howitzer, man!”
About 1:36

MAKE IT A MOVIE NIGHT

Where to watch

UNITED STATES

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WHAT TO WATCH NEXT

Movies to watch before and after.

Three movies to watch before To Live And Die In L.A., and three to watch next.

Finding six movies…Three to watch first and three to watch next.
Includes a Rewatchables episodePosters from TMDB.

ON THE MIC

3 voices made the call

Bill Simmons headshotBill Simmons125 tracked appearances · 56 H / 64 C / 5 ties
Chris Ryan headshotChris Ryan77 tracked appearances · 36 H / 38 C / 3 ties
Sean Fennessey headshotSean Fennessey35 tracked appearances · 15 H / 17 C / 3 ties

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