Synopsis
A confident young cop is shown the ropes by a veteran partner in the dangerous gang-controlled barrios of Los Angeles, where the gang culture is enforced by the colors the members wear.
Votre Filmothèque
Cast
- Sean PennDanny McGavin
- Robert DuvallBob Hodges
- María Conchita AlonsoLouisa Gomez
- Randy BrooksRon Delaney
- Grand L. BushLarry Sylvester
- Don CheadleRocket
- Gerardo MejíaBird
- Glenn PlummerHigh Top
- Rudy RamosMelindez
- Sy RichardsonBailey
Recommandations
- 90
Variety
A solidly crafted depiction of some current big-city horrors and succeeds largely because of the Robert Duvall-Sean Penn teaming as frontline cops. - 80
The New Republic
But conventional though the patterns are, the dialogue, in black and Latino lingo, is topically hot and is heated further by contemporary street naturalism, which in fact is less "natural" than consciously theatrical; so the familiarity of the story is disguised by the crackle of the production. [16 May 1988] - 75
San Francisco Chronicle
The only scene that takes a stab at saying something about the root causes of the violence is the weakest. At a poorly attended community meeting called by the police to urge residents to speak up when they witness a crime, one black Vietnam veteran angrily mentions the lack of jobs. [15 Apr 1988] - 75
Chicago Sun-Times
A special movie - not just a police thriller, but a movie that has researched gangs and given some thought to what it wants to say about them. - 75
Christian Science Monitor
There's hardly an original shot in the picture, and the screenplay ignores all opportunities to explore the patterns of poverty and racism that contribute to mob behavior. [22 Apr 1988] - 70
The New York Times
Though it all comes together, most tragically, at the conclusion, Colors is less notable for its plot than for its chilling urgency and its sense of pure style. [15 Apr 1988, p.C4] - 60
Chicago Reader
Narrative continuity and momentum have never been among Hopper's strong points, and this time the choppiness of the storytelling diffuses the dramatic impact without offering a shapely mosaic effect (as in [his] previous films) to compensate for it. - 60
Washington Post
The movie lacks a sure sense of purpose and direction, and, watching it, you can't help but feel that Hopper, by stepping back and refusing to assert his own point of view, has on some essential level abdicated his responsibility as a director. [15 Apr 1988]
