Le renard de Brooklyn

A pretty good movie could be made from this script, and unfortunately that's the best thing I can say for it. What little there is intact in this print (from the Hollywood Legends 50 movie DVD set) has a sort of appealing 70s funkiness to it like the non-sex scenes from an old porno movie. The conversion from widescreen format and the chopped-up state of the print, however, is more like an old Benny Hill sketch, lacking the vague amusement factor. Many dialogue scenes end up being still shots of a table and lamp with actors' shoulders protruding into the scene from either side. The print seems to have been returned from a foreign land which censors out not only violence but THREATS of violence or the implication that anything vaguely violent may be about to occur. People are standing around talking, and then someone is on the floor bleeding for some reason. The fact that it was directed by the ubiquitous Margheriti comes as no surprise - I have developed a sort of affection for his quick and dirty hacking-out of economical and moderately entertaining movies. In a decent print the story has enough twists, and the actors and crew are workmanlike enough, that it might be a pretty fair experience, but this print is a real head-smacker all the way through, leaving the viewer wondering what just happened over and over again. A mystery in all the wrong ways.

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.

This Italian produced, NYC lensed heist picture is actually quite entertaining with a few nice twists. Retired safe cracker Chris Gretchko (Lee Van Cleef) is lured to a job by the son (Edward Albert) of an ex-buddy. He flies to NYC and finds out he will be lifting $1 million in diamonds for a shady German group. It all goes smoothly until he learns that the group has plans to kill the second he has the safe open. Directed by Antonio Margheriti (as Anthony Dawson), this flick benefits from a clever script, great performances and evocative locations in New York. Van Cleef is his usual gruff self and he plays most scenes off Albert or hippie chick/life saver Karen Black. Lionel Stander appears as Gretchko's old-time fence. Supporting roles include Peter Carsten as the German mob boss, Ron Van Clief as some karate chopping muscle and soon to be character actor Roy Brocksmith (the bald, fat guy from TOTAL RECALL) as the guy who gets ripped off.

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.

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.