Walter Hill’s often overlooked neo-noir. Johnny Handsome comes from director Walter Hill and features a screenplay by Ken Friedman based on John Godey’s novel "The Three Worlds of Johnny Handsome." The film includes Mickey Rourke, Ellen Barkin, Elizabeth McGovern, Lance Henriksen, Forest Whitaker, Morgan Freeman, and Scott Wilson. Ry Cooder composed the music, with cinematography by Matthew F. Leonetti. John Sedley (Rourke), also known as Johnny Handsome, bears a severely disfigured face. When he and his closest friend are betrayed by two accomplices during a robbery, Johnny finds himself in prison, experiencing a new low point in his life. An opportunity for change arises with Dr. Steven Fisher (Whitaker), an innovative plastic surgeon who offers to perform surgery that would give Johnny a normal appearance, allowing him to attempt reintegration into society. With a changed face making him unrecognizable, he has the chance to seek revenge on those responsible for his friend’s death and his imprisonment... Walter Hill clearly understands film noir—anyone familiar with The Driver knows this. In Johnny Handsome, Hill incorporates elements of fantasy common in the genre and presents them as a violent revenge thriller. Initially unsuccessful at the box office and criticized by prominent reviewers in the late 1980s, it’s now recognized as being closely aligned with its influences. Criticisms that it's too outlandish, too brutal, or too much of a "B" movie homage don't hold up because what's presented is solid neo-noir cinema. It includes a protagonist struggling with a physical condition, medical procedures, a seductive and dangerous woman, an exaggerated villain, and a cynical detective. All of these elements unfold in a humid, vividly colored New Orleans setting. Combined with Hill’s skill at creating intense action sequences, it's a potent mix. Hill elicits strong performances from his cast, making sure emotional connections aren’t overly sentimental and that appeals for empathy are kept within reasonable bounds by the actors portraying the “good” characters. At the same time, allowing Henriksen and Barkin to portray their sinister roles with relish is an inspired choice that fits perfectly with the story. Leonetti's cinematography has the expected gritty noir feel, and Ry Cooder’s music is always welcome in a Walter Hill film. It isn’t flawless, but those who complain about wasted possibilities regarding rehabilitation—or that the progressive doctor proves to be mistaken in his beliefs about reform—are likely missing the point or not understanding the world of Johnny Handsome. From the initial chaotic misery to the finale, which is very much in keeping with noir traditions, this film is worth watching for anyone interested in a modern take on the genre. 7/10

Source on TMDB