Purely Joyful Movie!

not horrible nor great

Absolutely amazing

One of the film's great tricks is that, for a time, you think it will go down a rabbit hole of unrealistic glorification.

A cat burglar is forced to steal Da Vinci works of art for a world domination plot. Hudson Hawk is plain dumb, the acting is pretty mediocre and over the top and the action is goofy as hell but in a weird way besides all those bad things good things come out as well for example the jokes do land most of the time, the action is handled well and it's funny as well. This is the perfect example of a turn off your brain kind of film and it honors all those stupid movies from the 90's really well like Batman Forever and Batman and Robin or even Mr. Magoo this is nowhere near in the best movies that Bruce Willis has ever made but comparing to all those new crappy action movies he star in just to get that paycheck this one is a Masterpiece for sure i give it a 7.5/10

Greetings from Lithuania."Hudson Hawk" (1991) has to be one of the most uninvolving and overproduced movies i've ever seen. Nothing works in this movie, nor comedy, nor action - nothing. It's hard to say what went wrong with production of this movie, probably script was first and most important factor that this movie was garbage and just unpleasant to watch. Overall, i couldn't recommend this movie to absolutely no one, even if you are a "die hard" fan of Bruce Willis - skip this trash, it's not worth your time nor electricity you will consume during it's watch. Avoid it.

Comic action film centering on crackerjack cat burglar Bruce Willis, fresh from prison, who is blackmailed into stealing priceless works of art by a psychotic wealthy couple (Richard A. Grant and Sandra Bernhard) lest they murder his best friend Danny Aeillo.Hudson Hawk is notorious in the annals of legendary horrible film-making as a total debacle. Still, such films can be fun in retrospect. Not so much for this one. Willis is the driving creative force behind the film (and I use creative cautiously), having been a producer, writer and lead actor. One wonders why he stopped himself from stepping into the director's chair, but I guess even Willis has his limits, so he graciously allows director Michael Lehman to fall on the sword in that capacity. One would think since Willis wrote the mess of a screenplay that it would at least play to his strengths. If so, then one can only presume that constant smirking and smug arrogance are Willis' only cards to play. Truthfully, if an actress had perpetrated this worthless spectacle, her career would have been over before the print on the first reviews was dry. As evidence of the Hollywood double standard, Willis was allowed to carry on despite disastrous box office with nary a blip.The film's biggest clever flourish is having Willis and Aeillo carry out their heists in time to music. It sounds much better than it plays. And one comes to the fast conclusion that this was less an interesting idea, then an attempt to allow Willis and Aeillo, neither particularly good singers, to defile some otherwise sturdy old standards.The plot - or whatever you call this - is so insane and all over the map that it is virtually incomprehensible. It plays like something someone wrote after a major bender and while still experiencing intermittent black-outs. A perfect example is the leading lady role. Andie MacDowell looks luminous, but literally seems to have no idea what she is doing in this film (nor do we for that matter). She is cast as an undercover secret agent nun dispatched by the Vatican to...who knows. Ironically casting MacDowell as a nun means that Willis does not have to waste time developing any romantic chemistry with her and, although she manages to be present for the film's concluding action scenes, she functions as little more than adornment or furniture for all the impact she has.The less said about Willis in the title role, the better. Grant and especially Bernhard are virtually unendurable contributing unwatchable performances as the Nick and Nora Charles of villainy. Truthfully, we never have much of an idea of what they are up to and they seem less villainous than simply an endurance test for the viewer, often shrieking their lines as though they caught their big toe in a mouse trap. Aeillo is equally appalling. With Do the Right Thing and Moonstruck, Aeillo seemed briefly to actually be a decent actor, before degenerating in whiny second banana/bad character roles. Here, he is supposed to be funny and winning, but instead seems oddly pathetic and has never more than here resembled an overgrown mutant man-child. One can easily see him cast as the big screen's Baby Huey with no make-up or costume required. At one point, his character seemingly hurls to a fiery death and one realizes what a relief it is to no longer have him on screen.Willis's vanity piece is perpetually dumb where it should be funny, smug where it should be clever, loud and chaotic where it should be exciting, boring where it should be fast-paced, and finally a complete waste of space and time.

Hudson Hawk has the dubious distinction of being the final film produced by TriStar Pictures prior to their being bought out by the Sony Corporation and merged with Columbia Pictures. Plot In A Paragraph: Hudson Hawk, the worlds greatest cat burglar, has just been released from prison in New York. He is immediately blackmailed in to stealing some of Da Vinci's finest work in order to aid a world domination plot. Bruce Willis gives one of his worst performances as Eddie Hawkins/Hudson Hawk, likewise Danny Aiello is not up to his usual standard as Tommy Hawks best mate, Andie MacDowell is very blah as Anna, Hawks love interest. David Caruso and Frank Stallone are both fine in their supporting roles. However Sandra Bernhard and Richard E. Grant are simply awful. Cringeworthy bad. They ruin EVERY scene they are in. The movie doesn't seem to know what it wants to be, a slapstick comedy or an action adventure, and sadly ends up being neither. One thing I did like was a running joke in the movie that has Hudson and his partner Tommy (Aiello) singing songs concurrently but separately, to time and synchronize their exploits. Willis-Aiello duets of Bing Crosby's "Swinging on a Star" and Paul Anka's "Side by Side" are a bit of fun in an otherwise mixed bag.