To Live and Die In L.A./YMMV


 * Acceptable Ethnic Targets: In the very opening: a kefiah-wearing suicide bomber is yelling "death to Israel and America, and all the enemies of Islam!".
 * Alternative Character Interpretation: Chance is this trope. Is he really despondent and vengeful over Hart's death, or is he using it as an excuse? Is he a Knight Templar, a sympathetic asshole, or just evil?
 * Complete Monster: Chance. Again, all subject to interpretation.
 * Darkness Induced Audience Apathy: Critics of the film, particularly at the time, got this impression; there are hardly any characters that aren't driven by their own selfish desires. The only remotely sympathetic person in the whole mess is Vukovich,
 * Foe Yay: Masters and Chance; the former certainly enjoys patting down the latter shortly before he tells him "You're beautiful." Chance later returns the favor, presumably sarcastically, but it's hard to be sure.
 * Les Yay: Serena and Bianca have a bit of an unspoken relationship throughout the movie, culminating in a Thelma and Louise moment at the very end. But before that,.
 * Nightmare Fuel: The deaths of Jimmy Hart and  Arguably the most accurate depictions of a shotgun blast to the head ever caught on film. And it works.
 * Retroactive Recognition: It's Gil Grissom.
 * Seinfeld Is Unfunny: To modern audiences, it can seem like a litany of every '80s and '90s cop movie trope/cliche eventually parodied in Last Action Hero and the McBain movies-within-the-show on The Simpsons - from the cop days from retirement who gets killed on the job to the totally tubular LA setting to the exact line (not uttered in Lethal Weapon), "I'm getting too old for this shit." Except when you look closer, it turns out this movie predates Lethal Weapon by two years and would have been well into production around the same time Miami Vice debuted.
 * True Art Is Incomprehensible: Probably why Masters burns his paintings and hangs out with strangely-costumed interpretive dancers.
 * Villain Protagonist: CHANCE.