Wings Hauser – that name alone is dynamite – was a semi-popular lead actor in entertaining and unscrupulous B-movies of the eighties and early nineties. He appeared in two really great movies ("Vice Squad" and "The Siege of Firebase Gloria") but the vast majority of the titles on his repertoire are long-forgotten trash flicks of questionable quality. Still, he has a handful of dedicated fans (yours truly included) that attempt to track down and watch every movie he every starred in. For "Living to Die" he even worked himself up to be director! Good job, Wings! Well, almost a good job, actually, because there are quite a few shortcomings here. Like the title itself, the movie is pretty meaningless, cheap and campy. The plot turns and twists like a pretzel and contains all the typical ingredients of a raunchy B-movie of its era, like extortion, hookers, betrayal, gritty striptease clubs and giant Las Vegas neon lights. There's plenty of action, but not a trace of continuity or logic. During the intro sequences, Nick Carpenter is still an (honest?) cop in Los Angeles, but after the credits all the action takes place in Vegas and the events of the intro are never mentioned anymore. Suddenly Nick is an ex-cop who fills his days with gambling and drinking J&B Whiskey. He's called in by an acquaintance, the rich and incredibly arrogant Edward Minton, because some amateur blackmailer (Arnold Vosloo) wants a million dollar in exchange for keeping the bizarre death of a prostitute secretive. Nick is supposed to meet with the blackmailer, but everyone he meets gets killed before his eyes. He then discovers that the prostitute is still alive, but falls in love with her himself and comes up with a couple of really stupid plans. I honestly can't refer to "Living to Die" as a good film, but at least I was never bored! There are two things that make the film worthwhile and memorable, namely the impeccable breasts of Darcy DeMoss and the completely unconventional and seemingly random climax. Seriously, I don't think I've ever seen such a bizarre, illogical and unexpectedly sudden ending in a film of this kind. It almost seems like they ran out of budget and/or inspiration and just abandoned the whole thing.

"Living to Die" is not one of Wings Hauser's better efforts. It comes across as extremely disjointed. With "Wings" directing and starring, the film smacks of being more of a vanity project than anything else. Arnold Vosloo is really wasted in a supporting role, and Darcy DeMoss struts her "soft core" stuff, but her acting is less than mediocre. The noirish blackmail plot leads to a surprise ending that leaves lots of unanswered questions regarding believability. Watching "Wings" riding a motorcycle, riding go carts, and horseback riding fills in dead spaces, of which there are plenty. Not recommended, even for "Wings" enthusiasts. - MERK

In this PM production, which can best be described as a low-budget thriller with a huge film noir influence, Wings Hauser (who also directed the film) plays Nick Carpenter, a streetwise ex-cop in Las Vegas. His friend Eddie Minton (Brauner) is being blackmailed, so Eddie calls in Nick to help sort out the situation. It seems Jimmy Fargo (Vosloo) is behind the blackmail, but there are so many twists and turns it's hard to tell what's what. Minton is a corrupt, vain, selfish casino commissioner, and when Maggie (DeMoss) enters the picture, things get even more complicated. Will Nick be able to untangle the web of deceit and betrayal? While Wings' direction does expose the film's low budget pitfalls, such as some plot/editing clunkiness and amateurish acting at times, considering what he had to work with, he acquits himself admirably and got the absolute most out of what he had to work with, which is commendable. It's wrong to look for perfection, just give us a snappy, entertaining movie, which is basically what Wings does. Somehow, in this neon-soaked Las Vegas tale, some scenes are very dark and hard to see. But there are many strengths as well to Living To Die.For example, there's the aforementioned film noir style, which Wings clearly is a fan of. There is some memorable dialogue, such as "I'm not here to borrow trouble, but I can afford it", and "Trouble and beautiful women seem to travel well together". Lines like these could have been said in classic noir movies like Kiss Me Deadly (1955)or The Big Heat (1953). The infamous Asher Brauner's performance here could be termed "Asher Unleashed", as the man goes off the chain with his unrestrained yelling and zero-self-control performance. It really makes you dislike his character, Minton (it sounds like everyone in the movie is calling him "Mitten" and it was only the end credits that made us see his name was not in fact Mitten). But maybe that's the point and Brauner is a genius actor. The jury is still out.Sadly, Wings and Brauner never worked together again after this outing. They seem to work well together, I wonder if they had a falling-out? Maybe Brauner was jealous that Wings got to race a go-kart against some kids in an outdoor go-kart track. But Wings redeems his cool factor as he cruises along the Vegas strip on his motorcycle, no doubt seriously pondering the questions of loyalty surrounding Maggie and Minton he has embroiled himself in.No movie of this kind would be complete without a saxophone soundtrack, alternately smooth and blaring, and, to Living To Die's credit, it actually credits the sax solos to one Lon Price. Wings must be a fan. He wouldn't let Mr. Price's blowings go unappreciated.Featuring an eyebrow-raising unorthodox ending, Living To Die is a good piece of the puzzle for PM or Wings completists.For more insanity, please visit: comeuppancereviews.com

As a freshman director, and the picture's leading player, Wings Hauser requires more funding and experience than is available for this attempt at action noir, for he essays too many tangents and lacks that practical knowledge required to guide an uninspiring cast through its paces, although he must be admired for his ad libbing that rescues several scenes wherein a primary need is instead an increase of takes, reflected frequently by the star's parroting of questions put to him in his role as a private agent in Las Vegas. Even carefully planned editing and cutting would not give this work coherence, as there is little segueing between the many luxated scenes, and even though some of the dialogue is snappy, even witty, it is seldom so as written, due principally to Hauser's lack of directoral savvy, specially with Asher Brauner, who plays a dishonest city commissioner, and with the female lead, Darcy DeMoss, not a skilful actress in any event. As the film opens, Hauser's character, Nick Carpenter, is a Los Angeles Police Department detective, but following only one scene, he has suddenly become, sans transition or rationale, a private thug for Minton in Nevada, and subsequent activities of the cast often take place without discernible cause, other than to show a great deal of naked female flesh of indifferent quality, and a surfeit of subplots and secondary characters unfortunately escapes the cutting room floor; however, there is no question that the unexpected ending is most astonishing and raises an overall assessment of the production.