It’s tempting to think of 1995’s Jade as the bargain bin version of William Friedkin’s masterfully sleazy 80s cop thriller To Live and Die in L.A., but maybe the director wasn’t at all imitating past success with that admittedly dire misfire. By the time Friedkin made Jade, the 80s sleaze market he helped shape with his Wang Chung-scored cop thriller masterpiece had formed into its own solid genre, ranging wildly in both content & quality. The Sharon Stone/Adam Ant cop thriller Cold Steel, delivered by the one-time director Dorothy Ann Puzo, is just as sleazy & cheaply made as Jade and could easily be accused of the same claims of To Live and Die in L.A. counterfeiting (heh, heh), but because it doesn’t feature a filmmaker retreading old ground it gets by as a straightforward genre entry. Cold Steel is undeniably of its time in every possibly way. Its clash of 80s pop ballad cheese with extreme stomach-churning violence is only unremarkable because there was so much other tacky, tonally incongruous violence being produced at the time of its release. Considered in isolation and divorced from its peers & influences, Cold Steel is a fairly entertaining picture (which is more than can be said in Jade’s defense, unfortunately).
Released the same year as Lethal Weapon, Cold Steel attempts to navigate the same balance of light humor and intense violence as that much more enduring work, but can’t manage to match the intelligence of Shane Black’s game-changing screenplay. In this scenario, our down on his luck, perpetually drunk cop mixes pills & booze to show his gritty side, but bangs an automated coffee machine with commands like, “C’mon! Squirt!” only to receive a coffee facial to show that he’s also, in effect, a lighthearted clown. This sloppy cut-up finds himself entangled in a never-ending loop of revenge when a vicious gang (including Adam Ant as a smooth-talking goon) murders his father on Christmas Day for a perceived past wrong. The leader of the gang responsible, known only as the Iceman, is a hard drug-shooting creep with a mechanical voice box that allows him to speak through the wound in his throat. It’s at first unclear if this thieving, murderous crew has any clear motive in their violent robberies or if they’re just generic gangster baddies, but as our boozed-out hero chases them down through a series of explosion-heavy car chases, industrial setting confrontations, and heartless double crossings, a much clearer picture starts to unfold. Somewhere in all this chaos he finds the time to woo a young Sharon Stone through the erotic exoticism of eating sushi and that’s how sleazy 80s cop movies are made.
Cold Steel and Jade are both derivative and narratively unambitious in their post-To Live and Die in L.A. genre sleaze, but Cold Steel is entertaining enough to prove that wasn’t Jade’s only problem. Some of its entertainment is pure novelty, especially in its casting of Adam Ant, Sharon Stone, and (in a brief scene) minor scream queen Heidi Kozak. What really struck me, though, was how shocking the film’s violence felt despite the familiarity of its generic narrative. Stuntmen on fire, vicious stabs to the neck, grotesquely detailed drug abuse (another nod to Friedkin?), and overeager sexual leering all give the film a slimy sheen of 80s sleaze that never quite reach the heights of films like To Live and Die in L.A. or Cruising, but are still affecting in their own right. I’ll even admit that a few of Cold Steel’s stray stabs at humor got a laugh out of me. I guffawed especially hard when the hero cop responds to the warning, “He’ll kill you both!” with a casual, “Yeah, I’m planning on not letting that happen.” Movies like Jade prove that following genre convention and searching for easy thrills doesn’t automatically equal entertainment value success, but Cold Steel somehow survives by playing by the rules and getting dirty in the details. It won’t blow your mind, but you could do much worse if this is the type of action picture you’re looking for and you’ve already seen To Live and Die in L.A. one too many times.