Sidney's two movies there as Virgil Tibbs are fun and neo-noir. Both can go into tier 3. The Organization is 6.0 on IMDb, Mr. Tibbs is a 6.1. They are more or less in the tier 3 pack, I think and the pack has generally good films.
No Way Out is a good one too with Costner taking on Milland's Big Clock role in a new setting. That's a 7.1. It competes with tier 2 entries, but I'll add it to tier 3. Why? There's a constraint I imposed (with a single exception in This Gun for Hire), and that was not to include remakes of classic noirs. Almost without exception, it can be documented that they achieve lower scores than their originals.
This Gun for Hire remake also has a modest IMDb score. So why is this remake there? It's because I finally found a remake that was very good on its merits and that I could stand watching. I fell for it. However, to be consistent I see I have to toss out The Underneath (1995), which remakes Criss Cross. Somehow that snuck in. Another exception is Sorcerer which remakes Wages of Fear. Sorcerer is so good and its IMDb score is 7.7.
This Gun for Hire (1991) (TV)
Robert Wagner carves his own niche as "Raven", the hit-man, 19 December 2015
rated 8/10 by me
The other reviews are on target that this is a very good movie, and made for TV at that. Rather than seeing it as a remake of the 1942 movie that starred Alan Ladd, which may lead to futile comparisons, think of this as simply another version with its own merits.
The moment it opens, itís as atmospheric as all get out, fully using the neo-noir visual and aural vocabulary to advantage in New Orleans. During several sequences, one being a terrific chase, there is dissonant post-bop jazz (that sounds free and yet tonal) that really fits.
Portly actor John Harkins did noteworthy work for several decades from the 70s onward, primarily on television. He always stands out. Youíll recognize him and see how important his supporting work is as a mob go-between in this picture. Robert Wagner challenged himself with this role. We know he could play such a role because of his work in "A Kiss before Dying", but I am quick to add that here he gains far more of our sympathy as a very different kind of character. He was in the military and slid into contract killing for the government and then private contracting. Wagnerís Raven has been duped and almost assassinated, but he means to find out and even the score. His life as a killer have numbed his feelings of love and sympathy, but they are awakened by Nancy Everhard, first as hostage and then as his aide. These three parts are well-written and interesting, not stereotyped. Everhardís strip-dancer who likes risk and excitement (the night life) is particularly interesting. The main focus is on the relationship that Wagner develops with Everhard and vice versa, but itís tied inextricably into the larger quest of Wagner merely to survive an intensive police dragnet and find out who played him.