Metacritic reviews

This is a well-crafted movie by a man who knows how to hook the audience with his story; it's Frankenheimer's best work in years.

Excellent performances. Best of all is the casting of Williams as Bobby Shy - as shamblingly conspicuous as the brother from another planet, golliwog hair and a too-tight raincoat that clings like a hobo's fart, this is a guy who wants a good leaving alone.

ELMORE LEONARD'S thrillers leap so easily to the screen that it's astounding so few of them have gotten there. Even with the kind of slapdash, unsightly production that's been given 52 Pick-Up, Mr. Leonard's stories make terrific, unself-conscious B-movies of the sort that are more and more rare.

52 Pick-Up loses its sense of social texture in the last third when everyone begins to die by decree of formulaic three-act screenwriting, and its indifference to the plight of Harry’s wife (Ann-Margret) is unseemly, but the film is an often nightmarish gem awaiting rediscovery.

Oddly inert, except when it’s blithely nasty, 52 Pick-Up may very well suffer from mismatched sensibilities: those of grim thriller director John Frankenheimer and witty crime novelist Elmore Leonard.

52 PICK-UP is "Death Wish" for yuppies...But all the slime and grime can't camouflage the sameness of this standard, divide-and-conquer story.

One of the most downright sleazy major films in recent memory, 52 PICK-UP works mainly because of its vivid villains, who are more intriguing than the hero. Glover is superb as the totally amoral blackmailer who uses his superior intelligence to keep his dimmer comrades in check.

52 Pick-Up is a thriller without any thrills. Although director John Frankenheimer stuffs as much action as he can into the screen adaptation of Elmore Leonard's novel (previously filmed by Cannon in Israel in 1984 as The Ambassador), he can't hide the ridiculous plot and lifeless characters.

John Frankenheimer has directed 52 Pick-Up in a style so devoid of nuance, the movie almost watches itself. From the crosscutting between Scheider and Ann-Margret that opens the film (an exchange of glances so portentous you think an earthquake is about to hit Los Angeles) to the way every emotion is underlined with tight close-ups, 52 Pick-Up is so aggressively explicit that it might have been made for an audience of trained apes.

A dull, plodding thriller...It’s not a bad premise for a seamy film noir, but the results are a major disappointment, especially considering that the script was written by tough-guy novelist Elmore Leonard (who authored the original best-seller) and talented young playwright John Steppling. Not only is the dialogue stilted and showy, but neither writer manages to make much sense out of the novel’s complicated proceedings.