Few actors epitomize mid-’80s machismo as effectively as Nick Nolte, and few films prove this like Walter Hill’s 1987 dark neo-Western Extreme Prejudice.
The film is a complete collision of all the things that made the ’80s such a unique, if surface-level, decade full of blood squibs, character actors often giving performances overshadowing those of the lead actors, and prioritizing spectacle over plausibility and logic.
Extreme Prejudice is no exception.
With enough standout moments just aching to be followed by a fist bump and an audible “hell yeah,” Extreme Prejudice is another shining example of why Walter Hill just doesn’t get enough recognition as one of the most exciting auteurs of the era.
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