The best Don Gordon’s thriller movies
If you love cinema, you will share this ranking of the best Don Gordon’s movies, although you may have ordered them differently. In any case, we hope you love it and with a little luck discovering a movie that you still don’t know about Don Gordon.
Lethal Weapon
7.6/10
Veteran buttoned-down LAPD detective Roger Murtaugh is partnered with unhinged cop Martin Riggs, who -- distraught after his wife's death -- has a death wish and takes unnecessary risks with criminals at every turn. The odd couple embark on their first homicide investigation as partners, involving a young woman known to Murtaugh with ties to a drug and prostitution ring.
Bullitt
7.4/10
Senator Walter Chalmers is aiming to take down mob boss Pete Ross with the help of testimony from the criminal's hothead brother Johnny, who is in protective custody in San Francisco under the watch of police lieutenant Frank Bullitt. When a pair of mob hitmen enter the scene, Bullitt follows their trail through a maze of complications and double-crosses. This thriller includes one of the most famous car chases ever filmed.
The Towering Inferno
7/10
At the opening party of a colossal—but poorly constructed—office building, a massive fire breaks out, threatening to destroy the tower and everyone in it.
Z.P.G.
5.6/10
In the not too distant future, a very smoggy and overpopulated Earth government makes it illegal to have children for a generation. One couple, unsatisfied with their substitute robot baby, breaks the rules and gets in a lot of trouble. (Z.P.G. stands for Zero Population Growth.)
Code Name: Vengeance
4.4/10
Soldier of fortune, Monroe Bieler, is sent to dole out some American-style justice when the wife and child of an African president are kidnapped by terrorists.
Alas, Babylon
8.7/10
The Playhouse 90 teleplay of “Alas, Babylon” unflinchingly portrays the tragic aftermath of a major nuclear conflict with the U.S.S.R, including scenes featuring a child being rendered blind from a violent bomb flash and a character severely disfigured by radiation burns. Narrated in flashback with solemn resignation by noir veteran Dana Andrews, who announces in the play’s first lines that he is already dead (à la Sunset Boulevard), the controversial drama was both lauded and criticized for its grim, daringly honest exploration of a scenario in which “92 percent of the world’s people were killed.”
