Le renard de Brooklyn

A rare misfire from Italian director Antonio Margheriti, made during his difficult period in the 1970s. He wowed throughout the 1960s with his extremely good gothic horrors, and he came back roaring into life in the 1980s with his Vietnamese battle epics, but In between he made some quite meandering fare, of which this is a good example. The title seems to rip-off the earlier British thriller and they've even cast Stacy Keach-lookalike Edward Albert. Lee Van Cleef, with a twinkle in his eye, plays a safecracker hired for one more job, but double crossings are in store. The heist is dull, cast members like Karen Black and Lionel Stander can do very little, and the whole thing is extremely stodgy.

I fell asleep watching this movie but admittedly only for the last ten minutes. The storyline is not explained well, it was only today I discovered what the value of the theft was and the background. The start was terrible, I thought I had missed something. The parts where characters stare at each other for long periods does not improve the tension or the plot... just made me lose interest. Is worth a watch if you are drunk however as it provides plenty to laugh about. I have seen the end and it did not improve the movie for me. Having bought this for £5 in a box set of "20 Great Action Adventure Movies" I do not feel ripped off, I feel I have obtained A useful tool for entertaining myself and my friends... but not in the way the director intended. I will not advise people to avoid this. The story is good but the way it has been put across to the audience is poor and maybe some more time could have been taken. There is a hint that there was some talent behind this movie as the shots of New York are beautifully gritty and not all glossy. Do watch this, even if just for a quick laugh before moving onto something better.

Highly entertaining Antonio Margheriti heist film stars Lee Van Cleef as the self-assured former safe-cracker lured into one last job for the sake of the son (Albert) of a former close associate. Only problem is Albert is apparently in over his head and various sinister interests are pitted against one another as the heist goes fatally awry.

Bares more than a little resemblance to "The Mechanic" in many respects, but that's not to say it doesn't hold up in its own right with a few neat plot twists and turns to keep you guessing. Van Cleef is well supported by Albert as the young buck with a plan to steal millions in diamonds from flamboyant crook Roy Brocksmith (in his film debut), while the 'black fist of fury' Ron Van Clief has a prominent supporting role as one of Brocksmith's goons, showcasing his karate talents in one memorable fight scene.

Karen Black's role conveys more depth than it appears, and its really her presence that suggests this crime-caper is better than the average tripe. Her role brings an entirely different dimension to the picture, and more importantly, adds a very satisfying and memorable plot twist to savour. Great cast, plenty of violence and explosions typical of a Margheriti picture, shouldn't be easily dismissed.

I think that people such as Charles Bronson and Lee Marvin must have passed on this film before the producers got to Lee Van Cleef. In The Squeeze Van Cleef plays a retired safecracker who apparently quit at the top of his game over a decade earlier. Edward Albert son of an old friend lures him back with a job offer to steal some diamonds.

Seeing them and folks like Karen Black as a ditzy hippe chick, Lionel Stander as a pawnbroker friend of Van Cleef's, and Robert Alda as a police inspector always a step of two behind is always nice. His employers want to betray Van Cleef, but he didn't survive as long as he has by being stupid.

The Squeeze has some dull patches and an annoying soundtrack of some of the worst 70s music. It's also a sad commentary on the human condition, nobody can trust nobody with one exception.

Lee Van Cleef at his most facially challenged plays a retired safeman, who comes back from Mexico to New York to do one job for a friend's kid.

Includes most of the cliches one would expect from a "last gig"- film, but redeems itself with nice NY locations, comedy (some intentional) and Lee Van Cleef. Recommended as a time- passer.

Released on video in Finland in the eighties.