Rob’s Car Movie Review: At Close Range (1986)

Out of the multitude of actors that first reached prominence in the 1980s, it could be said with a good degree of assurance that none have reached greater heights of the craft than Sean Penn.

From early, career-making performances in Fast Times at Ridgemont High and Taps, to award-winning turns in such hard-hitting films as The Falcon and the Snowman and Casualties of War, Penn elevated himself in the minds of most as a thespian on par with the likes of Al Pacino and Robert DeNiro.

And while the subject matter of the films he has appeared in has been quite varied, Penn is generally not thought of when one considers films centered on cars. There was a film though, fairly early in his career, that while not a car movie per se, certainly had a bevy of amazing examples of classic Detroit muscle in it.

In this edition of Rob’s Car Movie Review, we’re going to have a look at this picture, 1986’s At Close Range.

The one-sheet theatrical movie poster for At Close Range. (Image courtesy of Metro-Goldwyn-Mayer.)

At Close Range was a neo-noir crime thriller produced by Hemdale Films and Cinema ’85, and originally distributed theatrically in the United States by Orion Pictures.

Based on the real-life story of a notorious 1970s Pennsylvania heist crew known as the Johnston Gang, led by a frightening crime figure, Bruce Johnston Sr. The account was adapted into a screenplay by Elliott Lewitt and Nicholas Kazan. Helming the picture was music video director, James Foley, who would later receive great acclaim for directing the 1992 noir crime classic, Glengarry Glen Ross and the 1996 suspense thriller, Fear.

Sean Penn as Brad Whitewood Jr. (Photo courtesy of Orion Pictures.)

At Close Range featured a cast that included some true acting heavyweights as well as some burgeoning stars of the future. Sean Penn played the lead, Brad Whitewood Jr., opposite Christopher Walken as his father, Brad Whitewood Sr.

Rounding out the cast were Mary Stuart Masterson as Terry, Sean’s real-life brother, Christopher Penn, as Tommy Whitewood, and David Strathaim, Candy Clark, Kiefer Sutherland, and Crispin Glover in supporting roles.

Christopher Walken as Brad Whitewood Sr. (Photo courtesy of Orion Pictures.)

The plot concerns Brad Jr., a rebellious, out-of-work young man who lives with his grandmother, mother, younger brother Tommy, and his mother’s abusive boyfriend in near poverty and squalor. After a particularly nasty altercation with his mother’s boyfriend, Brad Jr. seeks out his estranged father, Brad Sr., a career criminal, and moves in with him, his girlfriend, and a motley cadre of crooks that comprises Brad Sr.’s criminal gang.

Junior and Senior soon form a bond, and the latter begins to teach his son the tools and methods of his trade: burglary. Brad Jr. eagerly absorbs what he is being taught and soon joins his father’s crew on the theft of some farming tractors, as well as a residential burglary. Brad Jr. revels in the vocation and the money it brings him, which he intends to save up so as to one day move in with his young girlfriend, Terry.

Mary Stuart Masterson as Terry. (Photo courtesy of Orion Pictures.)

All is moving along smoothly, until after another residential burglary, when the gang confronts a crook that they have discovered has become a police informant. Fearing the man might rat their crew out, they murder him in cold blood right in front of Brad Jr.

Seriously disturbed by the lengths to which his father and his associates will go to protect their enterprise, Junior leaves the gang, and forms his own crew with his brother Tommy and some friends. Their first heist goes south though, and all are arrested. Everyone is able to post bail except Brad Jr., whose bail is set much higher, in an effort by the district attorney to get Junior to turn state’s evidence against his father.

Ultimately, Brad Jr. has to decide between his father or a future with Terry. (Photo courtesy of Orion Pictures.)

Realizing that he is at risk, Brad Sr. and his gang set out to silence any potential rats, resulting in the murder of Tommy and everyone else in Junior’s crew.

With the stakes raised to perilous heights, Brad Jr. must decide between family or his freedom and future with Terry.

Despite rousing reviews by film critics, including Siskel and Ebert, who both gave the movie strong thumbs up, upon its original theatrical release At Close Range was a box office bomb, only taking in $2.35 million in a limited release against a budget of $6.5 million. This is really a shame, as it is quite a good film and should have been appreciated by a wide audience. Although I’m not informed of it, it is my hope that the film has subsequently accrued a cult following in home video and streaming releases.

The movie is a slow burn that reaches an intense climax. (Photo courtesy of Orion Pictures.)

At Close Range’s writing is excellent, and provides for a slow burn style raising of the stakes that never once drags. What’s more, character sentiments and motivations are smoothly and seamlessly presented through action, as opposed to today’s screenwriters’ lazy method of explaining everything through janky and highly expository dialogue.

Perhaps the movie’s most sterling attribute are the performances, though. Both Penn and Walken put in memorable and searing depictions, with the former aptly tapping into the frustrations of a lost and listless youth, and the latter embodying a cold and empathy-challenged psychopath without the typical cliched histrionics.

Bolstering all of this is some very fine cinematography by Juan Ruiz Anchia, and excellent film editing by Howard E. Smith. Add to this mix songs by The Rolling Stones and Penn’s then wife, Madonna, and you have a superlative and stylish example of 1980’s noir.

The movie’s prime car is Brad Sr.’s 1969 Camaro Z/28. (photo courtesy of Orion Pictures.)

For us gearheads, things get even better, as At Close Range features a bunch of excellent classic muscle cars.

The primary car in the film is Brad Sr.’s ride, a stunning 1969 Chevy Camaro Z/28 coupe. Seemingly flawless in Metallic Glacier Blue with twin matte black hood stripes, the car features a black vinyl interior, and a ZL2 cowl induction hood.

The Camaro seems entirely stock, which means that Senior’s car had the 302 cubic-inch small block V8 with forged pistons, crankshaft and connecting rods, a solid lifter camshaft, 11:1 compression, and a Holley carb atop a dual-plane intake manifold. Backed by a Muncie four-speed with Hurst Shifter connected to a 12-bolt rear with 3.73 gears, this Z-car is one hell of a piece of muscle machinery.

Father gives son a classic 1970 Chevelle SS 396. (Photo courtesy of Orion Pictures.)

Another featured car in the movie is a 1970 Chevrolet Chevelle SS that Brad Sr. gives his son. Dressed in faded Forest Green paint with twin black stripes and a black interior, the car is a bit of a beater that is clearly missing the once-equipped vinyl roof covering.

There is what turns out to be a pivotal scene in which Brad Jr. tunes the car up, during which we get several glances at the classic 396 under the hood, but we get no hints as to what transmission the car has. Thankfully, we are graced with a few sequences where Junior tears up some back roads and we get to hear that V8 roar.

We are graced by the growl of the SS’s 396 in a few scenes. (Photo courtesy of Orion Pictures.)

An additional car that Brad Sr. is seen driving is another prime GM product of the 1970s – a 1971 Oldsmobile Cutlass Supreme convertible. Draped in eye-popping Matador Red paint over a pearl white interior, the car looks super-cool with its hood scoops, trunk-mounted wing, and color-matched wheels.

Brad Sr. is also seen rolling in a ’71 Olds Cutlass Supreme ragtop. (Photo courtesy of Orion Pictures.)

Other cars that make an appearance in the movie include a red 1975 AMC Hornet sedan, a 1970 and ’73 C3 Corvette, a souped-up 1971 Plymouth Road Runner, an Orange ’77 Chevy C10 pickup, and a 1967 MG B. Quite a collection of rides.

A loud, rodded 1971 Plymouth Road Runner makes a brief, stealthy appearance in the film. (Photo courtesy of Orion Pictures.)

At Close Range is one of the better films I’ve reviewed in this long-running column. Its combination of ever-building suspense, classic noir style writing, superbly subtle direction, and top-notch performances would make it rank high in most cinemaphiles’ estimation. But when you add such an amazing ensemble of muscle cars into the soup it climbs even higher in the eyes of this automotive-obsessed student of cinema.

I thouroghly enjoyed every minute of this film, and strongly suggest you see or revisit it as soon as you can. I give At Close Range seven-and-a-half out of ten pistons, and intend to add it to my personal collection of films.

Until next time!

About the author

Rob Finkelman

Rob combined his two great passions of writing and cars; and began authoring columns for several Formula 1 racing websites and Street Muscle Magazine. He is an avid automotive enthusiast with a burgeoning collection of classic and muscle cars.
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