Shoot to Kill (Roger Spottiswoode, 1988)

On the hunt for a mysterious killer, FBI agent Warren Stantin (Sidney Poitier) discovers his quarry has joined a hunting party heading for the Canadian border.

He joins forces with mountaineer Jonathan Knox (Tom Berenger), whose partner (Kirstie Alley), is leading the party.

While the pair struggle against time and terrain, there is a greater obstacle they will have to overcome: each other.

 Starring Sidney Poitier and Tom Berenger, Shoot to Kill (aka Deadly Pursuit) is a terse action thriller that makes effective use of its stars and effectively balances their characters' respective skillsets.

A buddy movie without the comedy, Shoot to Kill is sadly underrated.

I first heard about it after Poitier's passing - from memory, a local arthouse decided to play this as their tribute screening, rather than one of his more recognisable titles.

At the time, Shoot to Kill was the star's return to screens after 11 years.

First, time to eat some crow.

I have been rather dismissive of director Roger Spottiswoode, largely based on my disinterest in his Bond entry, Tomorrow Never Dies, and his Arnie vehicle The 6th Day. I never thought he was a bad director - he just seemed to lack anything special to recommend him.

Shoot to Kill is a really fine picture, and Spottiswoode is a big reason why.

I was especially excited by the variety of different locations, and how he found unique ways to photograph them. You always feel like you are moving between distinctly different environments, with new challenges and stakes.

If you are familiar with Clancy Brown's distinct tones, his reveal as the bad guy will come as the least surprising reveal in the movie. What makes this reveal shocking and effective is that once his identity is revealed to the audience, the film does not extend the cat-and-mouse with the other members of the travelling party - he just kills them all.

It is an economical story-telling choice, but also reinforces the character's ruthlessness and the stakes for our bickering heroes. 

As the leads, Poitier and Berenger are an effective double act - while they have a little back and forth, most of their conflict is nonverbal, conveyed through their differing reactions and approaches to obstacles.

It is an interesting approach that enlivens a familiar buddy dynamic.

While most of the action takes place in the wilderness, the third act shifts back to an urban setting, which reorients the pair’s dynamic. Rather than obvious signposting, the film just has Knox quietly take a backseat to Stanton’s greater skills and knowledge in the city.

Un-flashy but intelligently assembled, Shoot to Kill is a fine showcase for its stars, and its director’s talents.

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