Peter Yates
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Connections, in both directions
While this film is based on the video game franchise of the same name, “Need for Speed” is much more an homage to the macho car-culture flicks of the ’60s and ’70s like “Bullitt,” “Vanishing Point,” “Grand Prix” or even “The French Connection.”
"Need for Speed" is filled with tributes to -- and ripoffs of -- vintage car flicks: A drive-in theater plays "Bullitt," a cop car loses its back axle a la "American Grafitti," and Keaton's character is an update of Cleavon Little's jive-talking radio DJ from the 1971 cult classic "Vanishing Point."
Kisco, N.Y.) where people talk of “the big city” as if it can only be reached by arduous overland journey, and where ruddy-cheeked youths gather on summer nights at the local drive-in theater (where “Bullitt” is either enjoying a reissue, or has simply been playing continuously for the past 45 years).
Probably the only real mistake made by the filmmakers — director and ex-stunt guy Scott Waugh and his writers George and John Gatlins — was to show on a TV screen a few clips from the famous car chase in “Bullitt” (1968).
Early in “Need for Speed,” the characters visit a drive-in movie theater for the Steve McQueen classic “Bullitt.”
Sharp-eyed car fans will pick out references to auto-cinema classics like "American Graffiti," "Bullitt" and even "Mad Max" in all of "Need for Speed's" wanton mayhem, which might just be enough to distract viewers from the more awful bits.
That model was even glummer than the Pontiac LeMans—who was kidding whom, with that name?—in which Gene Hackman raced against an Elevated train, two years earlier, in “The French Connection”; and both, of course, were nothing beside the gleaming flanks of the Mustang used in “Bullitt” (1968).
There are a couple of terrific old-school car chases in "Drive," but Refn isn't trying to outdo "Bullitt" or get the next assignment in the "Fast/Furious" franchise.
This stale premise, taken from a novel by James Sallis, kept reminding me of a Steve McQueen vehicle, and in fact Refn has named Bullitt (1968) as one reference point.
Early reviews out of Cannes proclaimed Danish director Nicolas Winding Refn’s Hollywood debut, “Drive,” a full-blooded return to such ’60s thrillers as “Bullitt” and “Point Blank.”
But unlike the adrenaline junkies in “Bullitt” and Peckinpah’s “The Getaway,” he doesn’t make a conspicuous display of speed; he doesn’t “gun it” and leave a mile of rubber.
Toschi was supposedly the inspiration for the characters played by Steve McQueen in "Bullitt" and Clint Eastwood in "Dirty Harry."
Toschi is a legendary San Francisco detective, the inspiration for Steve McQueen's character in Bullitt, as well as "Dirty" Harry Callahan and Michael Douglas's character in The Streets of San Francisco.
As Inspector Dave Toschi, the SFPD detective who has inspired the characters behind three career-making turns (Clint Eastwood in Dirty Harry, which was loosely based on the Zodiac case, Steve McQueen in Bullitt and Michael Douglas in the TV series The Streets of San Francisco), Mark Ruffalo captures the vocal rasp and gruff energy of a homicide cop with an antithetical jones for kids' snack foods.
Mr. Toschi's unique way of wearing his holster provided the inspiration for Steve McQueen in "Bullitt"; The serial killer Scorpio from the first "Dirty Harry" movie was modeled on Zodiac; Brian Cox's character, Melvin Belli, appeared in the "And the Children Shall Lead" episode of the original "Star Trek" series.
As Graysmith delves ever more deeply into the seeping bog of the case –which became both a media event and a kind of mass panic in the Bay area between '69 and '72 – he is drawn into the wary orbit of the cops assigned to the case: Dave Toschi (Mark Ruffalo), the rumpled local semi-celebrity who inspired both Steve McQueen's Bullitt and Clint Eastwood's (Dirty) Harry Callaghan – and Bill Armstrong (Anthony Edwards), a devoted flatfoot whose steely professionalism will ultimately melt under the heat generated by the case.
In other words, it's believable that Ruffalo's cop could have shown Steve McQueen how to be a detective in "Bullitt," as Toschi did in real life.
One Battle After Another (2025)
Directed by Paul Thomas Anderson
influenced by Bullitt (1968)
Visuals
…it’s a late ‘60s/early ‘70s West Coast throwback that channels a gutsy female Black Panthers vibe, Bullitt-style car chases…
…one almost wonders if Anderson secretly wants to remake Bullitt.
…directed with such verve that one almost wonders if Anderson secretly wants to remake Bullitt.
It might not reach the heights of Bullitt or The French Connection, but it has its own thrilling, unpredictable energy.
His reactions are lightning-quick but he has an innocent enthusiasm that distinguishes him from older, more world-weary types behind the wheel like, say, Steve McQueen in Bullitt (1968) or Ryan Gosling in Drive (2011).
The car chases seen here are some of the best seen on film, harkening back to the great car chases of film yore such as Bullitt, The French Connection and The Blues Brothers, and resulting in a ballet of burnt rubber and screeching tyres.
Wright based his film largely on Steve McQueen's riotous chase scenes on the streets of San Francisco in "Bullitt" (1968).
Baby Driver is sweet fantasy, unlike more violent and existential vehicular visions such as Drive or Bullitt.
The concept of the car chase suffered in limbo for too long with inexperienced directors too often cutting corners instead of respecting why films like “The French Connection,” “Bullitt” and “Ronin” are still held in high regard today.
The Town (2010)
Directed by Ben Affleck
influenced by The Friends of Eddie Coyle (1973), Bullitt (1968)
Visuals Themes
Affleck combines visceral excitement, bracing authenticity, and an ambiance of malice and dread to make what might be the best movie set in Boston since The Friends of Eddie Coyle — and that includes his own Gone Baby Gone .
He includes a nod to that decade's Boston-set "The Friends of Eddie Coyle," a melancholy crime drama that would have laughed this movie's sentimental ending right into the Charles River.
Boston challenges Chicago (The French Connection, 1971) and San Francisco (Bullitt, 1968) as a setting of unforgettable car chases.
Affleck�s car chases achieve the high quality set by Bullitt (1968) and The French Connection (1971), the two films against which all subsequent car chases must be measured.
So much for subtext, but I can’t argue with the result: the sequence rivals the classic scenes in Bullitt and The French Connection , and it makes you wonder why no one’s shot something like that in this labyrinthine neighborhood before.
Hotshot detective Frank Shaft (Michael Murphy), clearly inspired by Steve McQueen in Bullitt, is called in to investigate.
Shaft is a good cop who runs on instinct and bucks the system; in the way he wears his shoulder holsters and turtlenecks, he's clearly meant to echo Steve McQueen in Bullitt.
(It was choreographed by the same guy who did "Bullitt.")
As well as playing tricks with film, Altman packs Brewster McCloud with many references to other movies – when Daphne Heap is killed, she’s wearing ruby-encrusted slippers in reference to actress Margaret Hamilton’s most famous role as the Wicked Witch of the West in The Wizard of Oz (1939) – it’s one of several references to Victor Fleming’s film; the name of Michael Murphy’s cop foreshadows the better known Shaft first played by Richard Roundtree the following year but his look, right down to the piercing blue eyes achieved by contact lenses, is based on Steve McQueen in Bullitt (1968); there are a couple of references for Fellini and perhaps to Hitchcock – Brewster McCloud is an unruly and wayward distant cousin of The Birds (1963), with the avian population of Houston seemingly carrying out a quiet, covert war on the human race, acting intelligently and with a collective purpose; the first three lines of the cast list is briefly visible on the Astrodome display screens at the end; and Alt…
Mientras Brewster asesina a diversos personajes vía estrangulaciones que nunca vemos e hilarantes cagadas de pájaros que embadurnan los cadáveres, como la susodicha Heap, Abraham Wright (Stacy Keach), un anciano mezquino, homofóbico y dueño de varias residencias geriátricas para el que trabajaba de chófer, Douglas Breen (Bert Remsen), un oficial de narcóticos corrupto, racista y abusador de su esposa (Angelin Johnson), y hasta un hombre que intentó violar a Suzanne, desencadenando que ésta le pegue con una barra de hierro y se lleve el coche que ahora conduce, por su parte una figura prominente de la alta burguesía de Houston y con gran peso político, Haskell Weeks (William Windom), manda a traer a un investigador de la policía de San Francisco, Frank Shaft (Michael Murphy), para que ayude a los bobos uniformados de Texas considerando que el forastero resolvió solito un caso similar de California con mucha cobertura mediática, el del apodado “Estrangulador de Santa Bárbara”, pero el tal S…
Still, given the prominence of Goreng’s paperback copy of “Don Quixote,” it’s surprising Lecter didn’t lean more on Miguel de Cervantes’ apropos quotations.
Goreng (Ivan Massagué) is confused because he thought he was volunteering six months of his life to the “Administration” in order to receive the peace and quiet necessary to quit smoking and read Miguel de Cervantes’ Don Quixote .
Finding Steve McQueen (2019)
Directed by Mark Steven Johnson
influenced by Bullitt (1968)
Characters
Harry drives a 1969 Mustang GTO, modeling himself after Steve McQueen in "Bullitt" (although Bullitt drove a 1968 Ford Mustang).
The film’s central figure, a green-behind-the-ears thief named Harry Barber (Travis Fimmel), idolizes the squinty star of “Bullitt,” for all the reasons one might have back in 1972, when most of the movie is set.
The protagonist (he’s not quite active or admirable enough to be called the hero) of this crime flick, Harry Barber (Travis Fimmel), is fixated on the eponymous star, so Bullitt and The Thomas Crown Affair are referenced.
The names of most of the gang members have been altered in the picture, but not those of the main protagonist, Harry Barber (Travis Fimmel), a likable lug who admires Steve McQueen and tries to pattern himself after the “Bullitt” actor, and his laid-back, vaguely hippie-ish brother Tommy (Jake Weary).
Harry’s favorite movie is “Bullitt,” and he takes fashion and hairstyle cues from his idol Steve McQueen.
Harry is shown relating his past exploits eight years later to his girlfriend Molly (Rachael Taylor, Jessica Jones ), who loves the film Bonnie and Clyde almost as much as Harry loves Bullitt .
To that end, Bruckheimer and Sena would have done well to study the great car chase movies; Peter Yates' Bullitt (1968), William Friedkin's The French Connection (1971) and Jade (1995), Steven Spielberg's Raiders of the Lost Ark (1981), John Frankenheimer's Ronin (1998), and Disney's Herbie the Love Bug movies, to get the concept of clarity, or maybe become inspired and develop a few original ideas of their own.
The audience I caught this with seemed to enjoy the proceedings well enough -- which just makes me wonder if any of them had ever seen The French Connection 2 or Bullitt before.
As the dust settles from the critic's screening of the 90-minute chase scene that is " Getaway ," I still can't decide whether the featured Shelby Mustang is supposed to be an homage to McQueen's chase in "Bullitt" or a subtle hint that the device is about to be ruined forever.
To Live and Die in L.A. (1985)
Directed by William Friedkin
influenced by Bullitt (1968)
Visuals Plot
Friedkin and his cinematographer Robby Muller managed to capture the essence of the city throughout the whole movie with some fantastic landscape shots, both in the daytime and at night, and the high-octane car chase echoes the classic move car chases of previous classics like Bullitt, where the layout of the city streets almost becomes as integral to the plot as the characters.
In the hierarchy of great movie chase sequences, the recent landmarks include the chases under the Brooklyn elevated tracks in " The French Connection " down the hills of San Francisco in " Bullitt " and through the Paris Metro in " Diva ."
Look for the incredible chase sequence, one that rivals anything you’ve seen in Bullitt (1968) or The French Connection (1971).
Entre abogados bien repugnantes y pancistas, club nocturnos con un fuerte dejo kitsch y una persecución automovilística legendaria con tiroteo múltiple que no tiene nada que envidiarle a sus homólogas de Contacto en Francia , Escuadrón Especial ( The Seven-Ups , 1973), de Philip D’Antoni, y Bullitt (1968), de Peter Yates, el opus de Friedkin y compañía constituye el epítome tanto de la exageración modernosa impostada de la década del 80 como de ese realismo sucio e impiadoso de índole suburbana que cristaliza en una cacería donde el depredador y la presa se confunden todo el tiempo debido a que ambos son núcleos fundamentales del absurdo del canibalismo metropolitano sin fin, como decíamos previamente un esquema lúdico en el que el narcisismo y el afán de trastocar la voluntad del prójimo parecen constituir el único horizonte vocacional de unos agentes del poder público -el de las sombras o mafioso clásico y el que se maneja al descubierto desde el aparato represor estatal- que adoran j…
This part of the tale is reminiscent of Steve McQueen's "Bullitt" as the two cops struggle to keep their ward alive long enough to testify.
The Bad Guys (2022)
Directed by Pierre Perifel
influenced by Bullitt (1968), The Hot Rock (1972)
Visuals Themes Plot
The heist sequences are brimming with zippy energy and visual references that pay homage to everything from Reservoir Dogs to Bullitt .
This leads to a rift within the ranks, and some pretty neat twists and turns and reveals, with the actors doing wonderful voice work while “The Bad Guys” serves up nods to classic crime films such as “To Live and Die in L.A.,” “Bullitt,” “The Italian Job,” “The Hot Rock” and “Snatch”—but mostly Steven Soderbergh’s “Ocean’s Eleven” and its sequels.
This leads to a rift within the ranks, and some pretty neat twists and turns and reveals, with the actors doing wonderful voice work while “The Bad Guys” serves up nods to classic crime films such as “To Live and Die in L.A.,” “Bullitt,” “The Italian Job,” “The Hot Rock” and “Snatch”—but mostly Steven Soderbergh’s “Ocean’s Eleven” and its sequels.
Fans of Peter Yates’ brilliant film Breaking Away (1979) will feel a kinship here, and that’s even before you learn that director Enrico Casarosa showed that movie’s script to Luca ‘s writers as inspiration.
Instead, Frankenheimer mounts some elaborately staged car chase sequences that nearly rival Steve McQueen's famous one in "Bullitt."
As cinematic art, they peaked in Bullitt (1968) and The French Connection (1971).
Both are worthy of comparison to the fabled chases of Bullitt and The French Connection.
Quien la señala como tal, quien se queja de mundos alternos no humanos abigarrados y con hipogrifos en vuelo, probablemente ha olvidado la juvenil emoción de películas como Conan el bárbaro (EUA, 1982) y Krull (EUA-Reino Unido, 1983), del señor Peter Yates.
But there are rare formula pictures—the bicycle movie Breaking Away (1979) was another—that seem to be arriving at the formula from the inside, with a kind of naive hopefulness that seems as much a product of movie-love as it is of a desire to reach a mass audience.
Like “The Deep” — the schlocky 1977 Peter Benchley adaptation immortalized by the sight of Jacqueline Bisset in a wet T-shirt — Collet-Serra’s more aptly named film recognizes that audiences tend to be a lot more interested in water-logged thrillers when there’s a pretty actress at stake.
But in terms of its cinematic qualities, "Prince of Persia" feels like a knock-off of earlier, better fantasy films — not just the many incarnations of "Aladdin" and "Ali Baba" tales, but also the "Mummy" movies, "Raiders of the Lost Ark" and even the long-forgotten "Krull" (1983).