Reviewed by Colin Jacobson (June 22, 2026)
With 1988's Sunset, we got a pairing of two notable TV detectives. It united Rockford Files' James Garner and Moonlighting's Bruce Willis.
Set in Hollywood circa the late 1920s, actor Tom Mix (Willis) gets cast to play Wyatt Earp (Garner) in a biographic film about the lawman. To add complications, Earp comes to the set everyday as a consultant.
Despite potential conflicts, Mix and Earp become pals. When someone murders brothel madam Candy Girard, the two unite to attempt to solve the crime.
After it launched in 1985, Moonlighting made Willis a star, and he got his first cinematic lead role with 1987's Blind Date. That one didn't become a true hit but it did decently and seemed to set up Willis to continue in the vein of fairly light tales with a comedic bent.
Sunset reunited Willis with Date director Blake Edwards but it flopped at the box office. Willis' next 1988 movie took the actor in a different direction, so when Die Hard turned into a blockbuster, he'd find himself viewed more as an action star.
Like most others, I didn't see Sunset in 1988. It came and went pretty quickly and didn't leave a mark.
This makes sense because Sunset provides a wholly insubstantial production. While not an unpleasant viewing experience, it fails to turn into anything memorable.
Honestly, Sunset feels more like a concept than a fleshed-out story. I get the impression those involved came up with the idea that Earp and Mix became partners and figured that would do all the work.
It doesn’t. Despite a narrative with a variety of twists and action beats, Sunset seems oddly directionless.
Again, this relates to my impression Edwards and company figured the “Mix meets Earp” theme would carry the day. The script plops a bunch of nearly random plot moments without real clarity.
Sunset also flits from one genre to another with alacrity. Though a noir thriller at heart, it also dabbles with comedy, Western and romance.
None of these gel. The movie seems scattered and can’t coalesce into a logical or dynamic narrative.
Sunset does offer a fine cast. In addition to Garner and Willis, we find Malcolm McDowell, Kathleen Quinlan, M. Emmet Walsh, Mariel Hemingway and Dermot Mulroney in his film debut, among others.
Of these, Garner fares best. Indeed, he can come across like the only member of the cast who really tries to impress, as the others tend to seem like the function on cruise control.
Willis seems oddly detached throughout the movie. Perhaps he understood Sunset wouldn’t help his career so he checked out mentally, but he fails to display the charisma we associate with him.
Sunset remains just interesting enough to keep us with it across its 107 minutes, but barely. The end product lacks enough strengths to become better than mediocre.
