Sweeney!

This ropey old seventies schlock turns up as a late nighter ever so often. In an attempt to open up the series for the 'big' (snigger) screen, the makers involved Regan and Carter in a 'big' plot involving government MP's and big business, namely oil barons who will stop at nothing, even dodgy hitmen, to achieve their sinister aims. The result is uncomfortable and frequently risible viewing. The film making is curiously sloppy. Regan and Carter start the film off with a bang by plunging headfirst into self parody by waking up late and drunk with air hostesses draped all over their couch (not that they live together, they're not like THAT). These men are macho, right? They abuse their positions by diverting police vehicles to give their girlfriends lifts to work and have no qualms about drink driving, so SHUT IT! After rolling around the pavements with bear guts and clothes awry, they arrive at Scotland Yard just in time for a bit of far fetched gratuitous violence against a bunch of blaggers (armed robbers, for our cousins across the pond).

The funniest performance comes from Barry Foster who, replete with outrageously bogus American accent, plays a blackmailing personal secretary to a government minister who is also into extortion, prostituition and murder. You know, the usual CV. He spends the entire film trying to keep a low profile with his involvement in OPEC dealings in high places by drawing as little attention to himself as possible. He achieves this by sending out two of the most hilariously conspicuous hitmen you've ever seen who run around London with a submachine and bombs wearing a series of very obvious disguises, not least the highly risky impersonation of police officers. A text book discreet hit? How about machine gunning three villains to death in broad daylight in a scrap yard. One of the villains, who suspects a conspiracy behind his girlfriends murder, we are led to believe was not even slightly suspicious of two maniacal police officers holding a machine gun in a plastic bag making unlikely enquiries. You could excuse this heavy handed slaughter as an attempt to make the murders look like a gangland execution. Trouble is, they maintain the same gobsmacking "hello-BANG!-here we are" strategy for the rest of the film. Later on one of the hitmen poses as a window cleaner to plant a bomb in the office of a newspaper reporter. He is seen very obviously handling a suspicious package practically under the nose of actor Colin Weiland (the hitmen are coming! The hitmen are coming!) and then takes out the detonator box while still walking across an office filled with secretaries. Yup, call in the professionals. Not surprisingly he is nearly busted. Later, in another subtle attempt not to draw attention to themselves, the hitmen load a submachine gun on the fire escape of a hotel in broad daylight and then fill a room with lead. In the ensuing chase to kill Regan and actress Dianne Keen (curiously miscast as a call girl) they then shoot dead a bobby on the beat so as not to create a stir in the tv and press. Unsurprisingly, with help like this Barry Foster is doomed to a sticky end which Carter blames his boss Regan for, in a would-be controversial freeze frame ending. LEAVE IT OUT George, those hitman almost shot you to death in a fracas outside your apartment block...so SHUT IT!

The budget on this film seems no higher than the series and affords a few cheesy and tacky kipper tie laughs if you're in the mood for some nostalgia. If not, then I'LL give you a RIGHT SPANKING!

Yikes but there's some shocking acting in this film adaptation of the popular television series. It seems that one of Her Majesty's ministers - "Baker" (Ian Bannen) might be a little too close to the oil industry as a major announcement on pool pricing is due to be made in London. The Flying Squad's finest "Regan" (John Thaw) and sidekick "Carter" (Dennis Waterman) are soon embroiled, but as the body count starts to mount up the former is suspended from duty. Undeterred, he faces the wrath of not just his own bosses but also of some blokes who're marauding round the city with machine guns. His searching leads him to high-class hooker "Bianca" (Diane Keen) and all of this is going on whilst we the just sense that adviser "McQueen" (Barry Foster) is up to no good. Thaw does try, a bit too hard I reckon, but the rest of this is pretty sloppy stuff. Keen dreadfully over-acts, Foster seems to pick up an accent that vacillates wildly from scene to scene and Waterman doesn't really feature enough to make much difference to this pretty predictable cop drama where the rules are meant for someone else. Gritty? Possibly - but I just figured that in the end, they all pretty much deserved each other. Of it's time, I'd say - and that day has long gone.

An excellent spinoff off from the popular TV series. The story is bigger but has all the grittiness and natural interaction of the characters that made the series so good. It's of it's time and anyone watching it today should remember that the language isn't tame and will offend some. Oh dear, never mind. It's genuine and that's what makes it believable.

The only let down is the lack of supporting characters carried over from TV. Many didn't have big roles but were familiar faces in the background. Haskins was especially missed.

If you remember The Sweeney from the first time around or just like gritty seventies British movies, then this is a great watch.

Just watched this for the first time, and it's definitely a different animal from the TV series.

Quite slow moving, with just a couple of exciting interludes, and possibly one of worst miscastings ever committed to film, Barry Foster as McQueen. Was the budget that limited they couldn't afford an American to play the part?

Nice to see 70's London streets, and the usual 70's furnishings and fashions.

It's a passable 97minutes or so, but don't expect non stop excitement.

A big shout out for the Network blu ray which is how I watched it, picture quality is absolutely superb, and the sound is as clear as a bell.

Looking forward to watching the sequel tonight, which by all accounts is a little more in the traditional vein of the TV series.

A no frills film in keeping with the series, the genre and the time.

This is a film about edgy London police in an edgy London in the edgy 70's. You could of course substitute "edgy" for "dodgy" in the above sentence and it would still be true...

For those of us around in the 70's it, like the series, is fantastically atmospheric. The hair, the clobber (look out for Regan's green anorak), the boozers, the motors, the women.

The plot is far less important than the characters who are all superb, and a particular mention for the young (and very beautiful) Diane Keen, and to a lesser extent Linda Bellingham - whose nudity makes you look at those OXO adverts very differently (or it would if they were still on) The film also gives some extra scope to the relationship between Regan & Carter, and there are some edgy moments between the 2, starting with their morning-after-the-night-before and culminating in the dramatic ending and indeed the film's last words. One of the many things I liked about the Sweeney was its realism and how it didn't portray its main characters as heroes but showed their dark sides and their failures.

I loved the TV Sweeney, for me John Thaw's (God rest his soul) Regan is one of, if not the, best TV characters of all time and this is an appropriate and very satisfying movie length "episode" Hollywood it ain't guv'nor, and for me thats what makes it the boll***s.