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A pretty good cast with lots of delightful bad guys. But what's the point. Who's who and what do they want? That's the problem. This is a mishmash of intrigue and espionage where we can't tell the characters without a program. We assume we are pulling for Richard Widmark and Oliver Reed, but we can't be sure. What makes a real spy story work is knowing the real milieu that is put forward. If everyone is flip-flopping back and forth within the story and if we don't have an identifiable end, we can't sense the suspense. I just couldn't get into this film. I like Reed and Widmark; they are two wonderful actors, but this must have been thrown together. The pyrotechnics are laughable. They use the old rule, if you can't come up with a plot, use a bunch of car chases. When all is said and done, who are these people answerable to. Is he CIA corrupt or is there a visible entity for us to fear. If there is, it's never brought forward in this film.

In this work filmed entirely in Israel, Richard Widmark gamely portrays Sam Lucas, a "retired" CIA operative who discovers that he is involuntarily back in action due to the sudden urging of his former initiate Gabriel Lee (Oliver Reed) who has been turned by the Soviet Union and now wants to come back into the American fold, not realizing that both players in the game have sent assassins to Israel to eliminate him, and Lucas as well. The direction is flabby with undue emphasis being placed upon silly and, naturally, superfluous stunts and car chases, with an inappropriate free hand being given to Gayle Hunnicut, playing the wife of Lucas and former lover of Lee, whose melodramatism proves distortive for what should be the critical scenes in this leaden affair, while the pudgy Englishman Reed, ill-advised to strip to the waist, has his lines dubbed in order to present an acceptable American accent.

Poor old Ollie Reed is having a bit of an holiday in Israel when someone tries to kill him... It turns out that he used to run the CIA operation in Lebanon, and that his former employers and the KGB have decided to eliminate some loose ends that might come back to haunt them - he is their current target! In desperation, he turns to his former colleague Richard Widmark ("Sam"), now retired to an antiques business with Gayle Hunnicutt ("Deborah") in Jerusalem. What ensues is a pretty lacklustre espionage thriller, with neither star really bothering. There is quite a funny scene with Reed before the wailing wall looking as if he is about to vomit - a scene that rather sums the whole thing up. It's largely devoid of jeopardy, what action there is has an inevitability about it that isn't at all helped out by a pretty formulaic script. It has some nice photography of the City of David (the bits folks are not trying to blow up) but otherwise is something you will soon forget.

The Sell-Out finds Oliver Reed as an American agent who's turned and become a double agent for the Soviets. Now he wants out of their system because he's found it's not all it's cracked up to be. Unfortunately both sides want to see him taken out.

What to do for Ollie. When you've got a friend like Richard Widmark who was your original sponsor at the Central Intelligence Agency and now retired to Israel with your former mistress Gayle Hunnicutt you go there for more than one reason. Widmark agrees to help him flee, but as it turns out comes at a terrible price.

This Israeli made feature had the distinct aroma of tax write off around it. Everyone just walks through their parts and collects their salary. Especially Oliver Reed who it seems had to have his entire performance dubbed so he could sound convincingly American. Seems like you could have gotten another American or made him British and saved a lot of money.

The cinematography in and around Jerusalem was nice to see, it took your mind off a very trite spy story.

Awful, wretched account of spies converging in Jerusalem in order to either aid or obstruct the departure of double-agent Oliver Reed after a contract is put out on him by both CIA and KGB interests. Local former CIA spy turned antiquities dealer (Widmark) is approached by Reed (his former protégé) to assist his exit, but finds himself becoming implicated in a saga in which he wanted no involvement.

One could only assume that Reed, Widmark, Wanamaker, Hunnicutt & Sheybul agreed to appear in this movie for the opportunity to visit Israel. Perhaps that's why they titled it "The Sell Out". Hunnicutt looks good in a teasing negligee and Sheybul is suitably sinister (perhaps some residual good-will from his former Bond villain colours his performance - there is a mildly creepy moment where he nibbles on a slice of cucumber while passively threatening Hunnicutt), but everyone and everything else associated with this picture is pure bunkum.

Endless double cross, incessant car chases, inane dialogue and woeful attempts at patriotic sympathy are just a few of the fault-lines that permanently fracture this would-be thriller. The film's meandering, incoherent narrative loses its way quickly and never recovers; the climax is an absolute non-event (and so dimly lit as to be virtually invisible), but to be disappointing, there would have needed to have been something better anticipated, and that was never an expectation after enduring the first 85 minutes of this abject failure.