The Rewatchables ‘To Live and Die in L.A.’ With Bill Simmons, Chris Ryan, and Sean Fennessey
Mar 17, 2026
A rambunctious rewind through William Friedkin’s gritty 1985 crime thriller, from its daring car chase craft to Robbie Müller’s sunlit-but-grimy L.A. cinematography. They chew over Willem Dafoe and William Petersen’s casting chemistry, the film’s iconic Wang Chung soundtrack, and the bold, risky set pieces that make the movie linger.
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Friedkin's Dark Vision Of The Thin Line Between Cop And Criminal
- To Live and Die in L.A. frames cops and criminals on a thin moral line, making it a darker, unredemptive crime film.
- William Friedkin uses outsider collaborators (Robbie Müller, Wang Chung, Lily Cliver) to make LA a violent, sun-bleached character rather than a glamorous setting.
High Art Meets Low Culture Defines The Film's Texture
- The movie's aesthetic sits between high art and low culture: gritty, boots-on crime drama with artful photography and pop music.
- That mix makes it feel more like French Connection than glossy 80s action, giving it lasting rewatchability.
Bad Timing And Studio Support Kept It From Breaking In 1985
- Timing hurt the movie commercially: it released amid the Miami Vice craze and was perceived as derivative despite being distinct.
- Critics like Roger Ebert loved it but MGM/Ted Turner buried the film in November, limiting its initial reach.
