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Back before Christopher Walken became a caricature of himself, when he was still considered a rising actor based on his Oscar® for The Deer Hunter, he made this graphic, exciting action film, about a group of professional mercenaries. Walken leads a band of soldiers of fortune, who are hired to overthrow a dictator in West Africa (think Idi Amin). But when their mission is compromised by political and monetary forces, Walken returns to the United States, disillusioned, battered, and not sure the high life of lawyers, guns, and money is really for him. Still, vengeance is sweet, as his partner, Tom Berenger, keeps whispering into his ear. A better film than it's generally given credit for, The Dogs of War features the kind of cool, detached performance Walken used to be capable of, before he began believing both the hype and ridicule about his over-the-top style. --Marshall Fine
Customer Review: What a let down
As a huge fan of Frederick Forsyth and after seeing the brilliant screen adaptation of his book The Day Of The Jackal, another favorite read of mine, this film was terrible. This adaptation butchers the original story to the point where it's almost unrecognizable. If you've never read the book but like cheesy shoot and blowup action films this one may appeal to you. But if you read and enjoyed the detail of the book I think you too will find this film to be a great disappointment.
Customer Review: Who's the villain
This film stands out because, unlike most action movies, the plot drives it, even as the bombs are exploding and bullets go whizzing by. It's a portrayal of the life of mercenaries, pawns in the larger global game of power and profits, seen through the experiences of the character played by Christopher Walken. Its specific focus is a coup d'etat in Africa that must be executed by a clandestine force, necessarily commissioned outside the official channels of government. From its earliest stages, all aspects of the mission are rife with mortal danger, a typical reflection of the political forces vying to maintain their own interests. A veteran of several similar assaults, Walken is contacted to organize the project, from planning to implementation. For him it should be just another assignment, but this one is different. We see a grizzled, jaded soldier of fortune who is well-trained and honed for the task but who is nonetheless hoping that this particular job may be his last, providing just enough of a pay-off to enable him to leave the life and pursue a more normal existence. Through the course of events, we therefore get not only a story of conflict but one that is personal as well. The other film's strengths are its aversion to stereotypes and straw men. This is not the stuff of Chuck Norris or Sylvester Stallone. We are not subjected to distorted combat scenes where the hero wins the battle with one hand and the enemy is a stupid, sub-human dreg. Instead we get a sense of the uncertainty of survival, of the brutal reality of life and death under unusual and exceptional circumstances. At the same time, the lines between good and evil, hero and villain, are blurred. Questions concerning loyalty and principle are posed. Who, in fact, is right? Who should win- and does it matter? Can the employer be trusted or even the other men in the unit? This is as good a movie as there is in this genre. Walken's performance is compelling, bolstered by an excellent supporting cast(including an unexpectedly good showing from Tom Berenger). Fine direction of vivid action scenes ensures that the tempo does not drag, but balanced against that is often cutting, insightful and sensitive dialogue. This film thus succeeds at several levels and, while disturbing in tone, still makes for great entertainment.


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