The other lead role is left in the hands of genre favourite Lesley-Anne Down, as the ER medic Dr. He also shows off a well coiffed beard and a willingness to get oiled up for smooth light bum-shots, which probably helped his reputation with the ladies. He pivots from being the confident and loving Jean Charles Pommier, Anthropology Professor & Bold Adventure, to an obsessed and frightened victim of a world he desperately tries to understand.
#NOMADS 1986 IDMG MOVIE#
Pierce Brosnan used this film to transition from clean cut TV star to brooding film icon, and other than an accent that seems to have come from the Dudley region of the France/Italy border, manages to handle his half of the movie well. The visuals are complemented by the cast to an amazing level. To compliment that, the editing style adds a touch of uncertainty and intensity, that swings between a dreamy hard-rock playground and vagrant glam-nightmare slaughter house. The titular Nomads are also wonderfully presented as almost a symptom of the city, an attempt at a new mythology that perfectly reflects that one place and time. The film’s tone is utterly set by the location and every loving frame taken of it, with a line drawn between its everyday reality and the horrors that live beneath. The place looks hot, grimy, exciting, and almost never ending.
It’s an effortlessly stylish piece, filled with an 80s Los Angeles filmed to create a visceral psychoscape of the sprawling conurbation. John McTiernan got to direct Predator and Die Hard as a result of this film, and within a few minutes it’s not hard to see why. It simply ends up biting more than it can chew, and becomes less than the sum of its parts. Unlike with other films that have been mauled in this column, a lack of talent and a dodgy core concept can’t be blamed for this state of affairs. It’s always frustrating when a movie manages to put in all the effort of being a good film, but ends up for far from the mark you thought it could have landed on.
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