Dennis Hopper’s best work? For me, it’s a toss-up between an obvious but devastating choice (Blue Velvet), a loopy curiosity (Out of the Blue, which he also directed), and the sort of mainstream psycho-for-hire part in which Hopper could whoop it up visibly without ever letting you doubt he was damaged goods — that was Speed, which had as its great central joke the idea of setting a movie on a Los Angeles bus. “LA has public transport?” you could hear the world asking incredulously.
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