User reviews

Rowdy Herrington and James Spader teamed up originally for Jack's Back, a slick, scary and ultimately satisfying affair, with TWO - count 'em, TWO - incredible performances from the always-superb Spader. In The Stickup, Spader's back, and the result is another clever little movie that is not what it appears to be on the surface.

Spader's character has enough edge for 3 characters, most of the supporting cast is excellent (especially the actress who plays the nurse), and although it doesn't have the high multiple viewings factor that Jack's Back possesses (I try to watch that at least once every four or five years), it's still fun.

My IMDb rating: 7

James Spader is a former cop-turned-bank robber in THE STICKUP. In the course of the robbery and getaway, things don't go quite as planned and Spader ends up wounded. Fortunately, prior to to the robbery, he has met a nurse (Leslie Stefanson of THE GENERAL'S DAUGHTER) who helps him mend in her home. Problem is, she's the ex of local deputy sheriff David Keith, who is hot on Spader's trail and keeping a close eye on his ex at the same time. John Livingston plays a boyish FBI agent sent in to take over the case, and provides some needed comic relief. The film employs several critical flashbacks without being confusing. It also is quite suspenseful. Spader as always is low-key and a pleasure to watch. A perfect little crime drama for watching on the small screen.

This film features one of James (call me Jimmy!) Spader's finest (and most likeable) performances. Set in the Beautiful Sierras of Northern California, we find ourselves immediately embroiled in a desperate chase... And as the story unfolds, It Doesn't Get Boring! The characters just get deeper, and when you think something is bound to fall flat (or be predictable), the story takes a new turn! I highly recommend this film to anyone who gets the chance to watch it.

James Spader plays a cop who is accused of having robbed a bank and all the evidence points at him - the "hitchcockian" character is helped to prove his innocence by a young FBI agent, who digs up that "The Stickup" didn't exactly happen the way it appeared to. A witty script which plays on the viewers perception and the point of view of narration is executed with above average direction and solid acting. "The Stickup" is a good quality suspense B-picture with originality and humour. Only the end with lots of arbitrary genre specific heavy shooting has the mediocre quality usually found in fare of this kind. The rest stands out and is "A" quality stuff.

Nothing too long...

The FBI agent added good character and some levity which was good.

Always have liked Spader, so my vote might be partial for that reason.

The movie lent itself to simple design, but it isn't. That's good because any movie that can still lay on a surprise or two effectively keeps the viewer (me) interested.

I can imagine people may have trouble following the storyline because much of it is told in flashbacks that I sometimes only just knew were flashbacks a few minutes into the subplot. This convoluted way of telling (and the way in which you have to piece it together) means you never really know what's going to happen next. It may be an ordinary cops and robber story at some point, or turn out to be a modern Bonnie and Clyde at another point. The way people keep chasing one another stays within realistic limits and never strays into the completely unrealistic escapes and shootouts we know from many blockbusters. In my opinion a well worked out plot but you have to pay attention to it to follow it.

An apparently disturbed/depressed loner is on the run after a daring bank heist. He meets a woman who sympathizes with his vulnerability and they begin a relationship which becomes jeopardized when she comes to suspect that he is the murderous stickup man. To say more could jeopardize your enjoyment of this movie.

I had sadly resigned myself, before viewing this flick, to the fact that the the chances of finding a good mystery or thriller any more are close to nil. Writing tends to be dreadful, story lines implausible and hackneyed, and the obligatory twists and "surprises" either predictable or preposterous. But here we have a nicely written and very cleverly constructed thriller-mystery whose twist is unexpected and ingeniously constructed. The technique of ongoing narrative flashbacks is most often clumsy and confusing. But in this movie the same technique is very meticulously realized and is essential to the bend in the story line that the film depends on for its punch as an exceptionally engaging thriller.

And don't be put off by the somewhat deliberate pace of the first third of the film. It's crucial to what this movie is about. Given the dismal standards that prevail in this film genre, I say this one merits a 10 out of 10.

Okay, so this is a rather low-budget movie. Probably half of the budget went to mister Spader's fee so there was not much left to go around, but:

-I have seen worse movies. -The camera-work is good. -The acting is good. -The plot is not difficult but never tries to be.

All in all, I had fun watching it and if you ever get in a place where it rains all day and you are bored out of your skull, this one would at least tie you up for an hour or so.

James Spader is always likable no matter how sleazy or dishonest he is. There is no doubt that he carries this film completely by himself, because all other performances are quickly forgotten. In fact, Spader is downright excellent as L.A. detective John Parker who gets involved in both a bank robbery and a girl in the same day.

Like the rest of the actors, the movie is quickly forgotten as well—a low-key cops n' robbers story with a few twists and one or two laughs at best. It is mostly slow and serious and while this pace is deliberate to build up tension in the plot, there are no satisfying action sequences or culminations of any kind to follow it as it unfolds. The rapport between Parker and the lead girl was simply not good as it tried too hard to be 'edgy' with lots of quick bantering and, in the end, was unable to convey any real emotion or even on-screen chemistry. This doesn't make The Stickup a bad movie, but it makes it pretty mediocre. 5/10

Once in a while you can win at the game of "remote roulette." I lucked out and caught this flick the other night while rather aimlessly looking for something decent to watch. It was being shown on a popular, premium cable network. It is a cops & robbers caper flick with more than a little twisting as it goes through its well designed plot steps with hardly any let downs along the way. I would categorize it as a black comedy-drama with a touch of noir. I thought that the dialog between the main characters, James Spader (Parker) and Leslie Stefanson (Natalie Wright)was reminiscent of Bogart & Bacall. James Spader, in my opinion, is one of the better actors in film today. It is a shame that real talent like his is not more fully recognized by the film industry, obsessed with redundant, lowest common denominator material suitable for sixth graders or special effects geeks whose every other word is "awesome." Leslie Stefanson's character is aptly named as she plays with skill and sardonic humor, a disillusioned small town girl looking for "Mr. Right." The supporting cast, particularly John Livingstone as FBI special agent Rick Kendall was above average. I just wish that there could have been a little more of the well played "Native Americans" who were involved in the story. Writer-Director Rowdy Herrington deserves praise for coming up with this low budget "sleeper" lost among the mainstream Hollywood trash currently inundating the theater and television screens of our entertainment challenged land. The authentic rural and scenic small town location creates an enchanting atmosphere that further adds to the quality of the film and even the jazz soundtrack I noticed under the closing credits was a winning pick. You will not be disappointed by this good one.

I think The Stickup is worth your time, overall, if not by an awful lot. I've seen a lot worse than The Stickup, films that have been so much worse and yet have garnered ten times the attention this little joint USA/Canada 2001 production attracted. The film very lightly tackles ideas to do with identity and whether we, as well as the other characters, believe certain individuals are capable of certain things. The film also adopts a neo-noir tone as the lone lead becomes increasingly involved with low-key crimes in a low-key location as he engages in relationships built on shaky trust with mysterious women and the boundaries around him to do with legal and illegal are blurred.

The film isn't without its annoyances, but it's unfolded in such a manner that is both nice to look at and easy to just let oneself loose inside of that you begin to grin as the film unfolds more so than you do groan. The film opens with a car chase, a car chase that unashamedly throws in all the clichés and incidences you'd associate with a typical car chase. You've got your near miss with another oncoming car, you've got your incident in which one of the vehicles spins wildly out of control but gloriously has a patch of dirt or gravel to spin onto rather than a brick wall or fifty foot drop thus allowing the regaining of control and you've even got your little stunt at the very end which involves a car overturning. I was pleased it didn't blow up like usual - maybe they couldn't afford it.

The man being pursued is John Parker (Spader) and his pursuers are law enforcement. This immediately draws us to conclusions it's only right for them to get their man because surely anyone running from the law must have done something wrong, right? Parker gets away and next we see him in a church, blood dripping from his hands and a big bag of money he's got with him as we assume he repents any sin he may have just committed. What begins in the audience's mind as a tale of regret and putting things right quickly turns into something a little more. The crime infused male fantasy is stepped up a notch when Parker comes into contact with Natalie Wright, played by Leslie Stefanson, who's a nurse in the local hospital.

These two come together, initially, in a bar because of a certain song Parker puts on and she comes over. What that song was slips my mind and to a degree, that is a great shame, because here is a chance to reinvent a certain musical track much in the vein of what Tarantino does but also to use it as a reoccurring melody throughout these two person's journey. Once they get talking, Natalie speaks of her divorce and how unhappy she is, as you do to complete strangers from out of town you meet in dodgy bars, and they spend the night at her place somewhat eerily under the resentful eye of her ex-husband Ray DeCarlo (Keith). This guy doubles up as the local sheriff and is same individual that chased Parker in the first scene.

What struck me as a little sloppy and silly was the fact she's suddenly helping Parker when he needs it, primarily through the fact he washed her dishes and cleaned up her apartment the following morning. But when she does find out there is a lot of stolen money in Parker's possession and hears about a bank robbery, she puts two and two together which is when the relationship is strained. It's at this point I assumed Natalie would go down the femme fatale route and attempt to take the money for herself but no, the film remains grounded in the small town in which they inhabit and it doesn't branch out to anything other than that. Rather than think that was a bit silly, I thought it was fine and if that's where you want to go then alright and I bought most of it even if, as a result of this non-double cross on Wright's behalf, the film plays out as more of a buddy routine between love allies than it does anything else.

There is a degree of spectacle in the film, something that is quite impressive given the understated and direct of video feel this film has. It is bargain bin at you local store or catch it late night on some cable channel, all the time shaking your head in disbelief the film was made in 2001 and wondering where all the time has gone, material if we're all honest but it's perfectly fine. The film is polished and the sense of the spectacle is hammered home as it all unravels in an entertaining way as twists, turns and double crosses become apparent. The film ends in a daft shootout in the woods, meaning we've come all this way just for a guns blazing routine and the background jazz music for some scenes gets a bit annoying but on the whole, I feel it would take someone really cynical to dismiss this piece of work.

Picked up a couple of videos to watch on this rainy Saturday afternoon. Oh what a waste of time this movie was. Can I get my money back? I love James Spader. What a great actor. I'm sure he wouldn't have taken this role if it wasn't a good script -- originally. Too bad that in the process of making this film so many bad decisions were made.

What I found to be the most disappointing was the casting of the lead (and only) female character. There just wasn't any chemistry between Leslie Stefanson and Spader. I can think of SO MANY other actresses who could have been far more believable, interesting and competent.

Stefanson couldn't deliver a convincing performance. If Natalie really was attracted to Parker, why didn't she act like it? His reasons for getting involved with her were obvious -- he needed her help (and wasn't going to turn down her quick invitation to jump in the sack) -- but what were her reasons for getting (and staying) involved with him? Even when they first met, there was no flirting, no dalliance. This mysterious man just shows up one day and brings excitement and intrigue into her otherwise duller-than-dull life, yet we see no emotion from her. Natalie took a lot of serious risks helping Parker, yet Stefanson's performance left me wondering why. Being his nurse as well as his lover, one would expect some tenderness, some warmth from her. I found her to be cool, aloof and sarcastic. There should have been some fervor from her to justify her actions.

The main storyline of this movie involving the crime and the mystery of solving it was a good one. But the simultaneous "romantic" relationship between Natalie and Parker never heated up as they became more involved with each other, and it should have. That was a disturbing distraction to me.

Parker (James Spader) meets Natalie (Leslie Stefanson) in a bar and has one night stand with her. On the next day, the local bank is robbed and Parker is chased and wounded by the police. The FBI rookie agent Rick Kendall (John Livingstone) is assigned for the case. This low budget movie was a great surprise for me. With a screenplay with lots of plot points, and two excellent lead actors (James Spader and John Livingstone), is a very worthwhile entertainment, recommended for fans of police story. The plot is great and the location were this film takes place is very beautiful, with wonderful landscapes. My vote is eight.

Title (Brazil): `Perseguição Implacável' (`Implacable Chase')

The beginning of the movie is as said in the comment on the net: what do you expect with such a title.A lot of shooting and car racing. For me the movie began with Leslie sitting at the bar and ordering a drink for a total stranger.From there on I followed all her moves and one-liners intensely. When she was nursing the shotwound I wished it was mine. .The casting all-over is very well done. The greenhorne FBI agent is heartwarming (he would say: "cool").The Indian chief and his son have a very short but amusing role.The plot of the movie is not that bad at all. The last half hour the plot of the story is upside down, totally different from what you would expect.However, the role of his LAPD collegues in the end is quite unbelievable. A happy end is well deserved for our couple, "love at first sight saves a lot of time". I'm glad I took the time to see it.

"The Stickup" is all about Spader as a burned out LAPD cop on the run after being shot for robbing a bank in some fictitious small town in California's Sierra-Nevada mountains (played by Canada). Spader takes up with a babe who happens to be a nurse and the ex-wife of the town Sheriff, etc., etc. Toss in a lame FBI rookie, some Indians, and a bunch of flashbacks about Spader's past, mix them with a low budget and poor direction, and you have a film which will make you cringe when you're supposed to be enthralled or yawn when you're supposed to be thrilled. The only thing this loser has going for it is an unexpected twist at about the halfway point which doesn't make it a good film but it may keep you from ejecting your DVD prematurely. Best saved for broadcast. (C-)

I loved this movie! It doesn't go where you think it's going and it gets there fast! James Spader is one of the best actors working in films today. It was great to see him with such strong material. Leslie Stephanson and Spader had this very hot chemistry and I loved the banter between them. The Rashamon element in the plot provided an excellent opportunity for a unique film noir twist. I saw this movie at a preview with a large audience at a L.A. Museum of Modern Art/Independent Film Project screening and the place went wild. I watched it again on Showtime and enjoyed it just as much. It's great to see "under the radar pictures" like this. My hats off to everyone involved in the picture. Fine work all around. John Livingston practically steals the movie, I'll be watching for more from him. Loved the score too. If you have a chance see this movie!

Not bad for a low budget thriller. A bank is robbed by a person in a clown mask and a jumpsuit. The story revolves around the local deputy sheriff and a rookie FBI agent chasing the suspect, a LA cop, who has troubles back in LA. Some scenes switch back and forth in time and from different character's perspective to mislead you. The witty dialogue between the LA cop and the deputy's ex-wife reminds me of James Bond movie dialogue.

This must be one of the slowest, most boring, most meaningless movies I have ever seen in my whole life. It never goes anywhere, or it takes forever for the very few things that happens in this movie to happen. The story is terrible, the acting is not very good, there are no characters to identify yourself with, there's nothing. Stay as far away from this movie as possible! 0/5

A burned out cop (Spader) from the big city travels to small town America after the death of his partner where he meets a lovely nurse. From there he sleeps with her, does her dishes, and then dresses up as Bozo and robs a bank. Simple, eh? Well, this is a Rowdy Herrington film and Rowdy Herrington films aren't to be taken at face value. The plot runs deeper than you think baby...

On the surface The Stickup looks like your typical crime drama, but never judge a book by it's cover. The Stickup is an all around well written, acted, and directed thriller that has many levels. Much like Herrington's brilliant Jack's Back, The Stickup is layered and then some. Without getting in too much detail and spoiling some of the surprises, The Stickup is a smart, witty, and damn enjoyable little movie.

Herrington has always had an ear for great dialogue and an eye for quick well choreographed action sequences. Herrington shows off both attributes here, but it's his great story that makes this baby so fun. Loaded with great witty dialogue and characters, this is Herrington in good form. The movie is also well directed by Rowdy with lots of cool flashbacks that add to the mystery of the movie. Herrington also keeps the movie moving at a brisk pace that never lagged. Good work Rowdy! Herrington and Jack's Back star James Spader reunite and damned if it didn't feel good. Spader is, as always, great in the lead. I love the guy, he's made a name for himself playing intense layered characters that either good or bad, you can't help but like. If Spader's on screen you can't take your eyes off him. Did that sound gay?

Unfortunately Herrington will always be known as the guy behind Road House and the very cliché Striking Distance. His best work lies in the films that have flew under the radar. The Stickup and Jack's Back being two shining examples of just that. Now I could go on raving about The Stickup and Jack's Back all day, but I won't. Just rent them! Herrington has an ability to take a tired concept and add life to it (except in the case of Striking Distance). You can say you've "seen it before," but not quite like this.