Movies

King of New York

BBG News

1990 was a significant year for the genre, making it challenging for some lower-budget movies to stand out amidst the crowd. One such overlooked gem was “ King of New York “, a forgotten crime masterpiece that narrates the tale of a drug kingpin who’s just been paroled. At first glance, the film didn’t offer anything particularly innovative for its era, as it featured many common cliches and standard themes within the genre. However, with compelling antagonists, lots of action, and a young Christopher Walken in the cast, there’s ample entertainment for fans who appreciate this genre.

Although garnering praise from critics and success in reviews, King of New York failed to make an impact at the box office, often overlooked as a hidden gem in Walken’s filmography. It may not immediately spring to mind when discussing crime films or even those featuring Christopher Walken, but it warrants significantly more recognition than it receives. In truth, it’s a piece that compels viewers to witness the destruction wrought by its villain while still finding themselves rooting for him against all odds.

King of New York Follows the Return of a Dangerous Drug Kingpin

King of New York focuses on Frank White (Christopher Walken), a former drug kingpin who’s just been released from prison, determined to continue ruling his territory. However, he becomes disheartened by the deterioration of his community, with rising homelessness and the impending closure of a neighborhood hospital. As a result, White decides to utilize his power for positive change and help those left behind. With the assistance of his crew and lawyer/love interest, Jennifer (Janet Julian), White takes down the Colombian drug cartel and Mafia figures obstructing his path.

However, when his actions attract the notice of the NYPD, detectives Bishop (Victor Argo), Giley (David Caruso), and Flanigan (Wesley Snipes) embark on an unofficial operation to bring him to justice. As Frank eliminates his rivals and increases his influence, the police officers pursue him relentlessly, resulting in a game of cat-and-mouse between Frank’s gang and the detectives prepared to overstep boundaries to halt him.

King of New York Gets Its Audience to Root for the Bad Guys

It’s unusual for audiences to sympathize with the criminals rather than the police in gangster and crime films. However, White and his gang manage to elicit this response. Their actions are violent, yet they seem somewhat justified. As White asserts at the end of the movie, he only kills those who truly deserve it – a criminal ring exploiting 13-year-old girls for prostitution and Colombian landlords charging exorbitant rent for shared bathrooms. While his methods are undeniably harsh, there’s a sense that they are, in a way, noble. Thus, when the frustrated detective Gilley attempts to kill White, viewers almost wonder why. Is it because Gilley views White as inherently wicked or because he’s resentful that White makes more from his drug empire in a week than Gilley does in a year?

Although there are several questionable actions by White throughout the movie, it’s hard not to acknowledge the valid points he makes. With a string of murders and criminal activities under his belt, he is clearly at odds with the law. However, viewers find themselves torn between upholding justice and acknowledging that White seems to be eliminating some particularly vile criminals from New York City. Furthermore, his relentless efforts to save the local hospital, demonstrated by his selfless donations, add an unexpected layer of complexity to his character.

In the world of his associates, Jimmy Jump, my right-hand guy, fits right in – ruthless and unyielding as they come. He brandishes his firearm carelessly at anyone who dares challenge him or the boss, White, and sports a quick temper. Yet, amidst all this, he’s got a soft spot that surfaces unexpectedly. For instance, when a group of kids were reprimanded by a shopkeeper for not having money to play an arcade game, he graciously handed them and their grandmother some cash.

Once more, it’s a paradoxical character – one I wouldn’t want to side with, but his glimpses of kindness make him intriguing and relatable.

Frank White could be described as a complex character who fits the mold of an anti-hero, a type of vigilante whose actions are questionable. Unlike Tony Montana or Neil McCauley, these characters are often self-centered and ruthless, even if they’re the main focus of the story. For instance, Montana is greedy and cruel, while McCauley’s actions, though humanized by his relationship with Eady, are difficult to condone, making viewers more inclined towards Vincent Hanna. However, White is different. He acts not only for himself but also for the betterment of his community. While there is some personal benefit involved in his actions, it doesn’t overshadow all of his motivations.

King of New York Was Overshadowed by Others in the Genre

2019 was quite a year for crime and gangster movies, with some real heavyweights gracing our screens. Apart from the massive hit Joker, there were also gems like Miller’s Crossing and The Grifters. Now, let me tell you, King of New York had some serious competition on its hands. Even with the legendary Walken at the helm, it just couldn’t keep pace. Goodfellas, alone, ruled the crime box office that year, raking in a whopping $47 million worldwide against a budget of only $25 million. Sadly, King of New York didn’t even come close to matching that success. However, it did manage to garner mostly positive reviews, with Walken’s performance being particularly praised.

King of New York’s Box Office Results
Budget$5,300,000
Worldwide Gross$2,554,476

Back in 1990, “King of New York” wasn’t everyone’s cup of tea because it didn’t follow the standard narrative structure of popular crime thrillers like “Goodfellas” or “Millers Crossing.” However, what made it hard to sell then is exactly what makes it fascinating now. It’s a neo-noir thriller that plunges you straight into a rotting world without the usual setup. Instead of focusing on character development, it delves into an intense, almost operatic portrayal of its characters and situations.

King of New York deserves recognition for its knack to induce viewers to support the supposed antagonist. What’s even more noteworthy is that it manages to sway spectators against the protagonists instead. Although it may not have reached the heights of Goodfellas or achieved the mass appeal of Scarface, nor did it introduce anything groundbreaking into the genre, it did craft a universe where the distinction between right and wrong becomes hazy enough to challenge viewers’ allegiances. To be frank, if you haven’t yet watched King of New York, you’re overlooking one of Walken’s finest portrayals.

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2025-04-20 02:51

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