Sorry, Sid - The digital sound effects were not a good move. The whole thing feels half-hearted, over-important and, worst of all, the heist scene is the most boring part of the movie. However, the whole cast is on top form, and there's an element of The Raid in the way they illusive building towers over our characters.
Full of deliberate electrical cracking and popping, the soundtrack is quite distracting rather than distinct, and has aged rather badly. Really odd seeing Walken so young, and Connery doing his hardest to suppress that Scottish accent! For a crime thriller, this skips straight to the point, and glosses over a lot of typical planning detail. Still an enjoyable heist with a great cast (can you spot the Wicked Witch?)
A cracking Sidney Lumet thriller that stars Sean Connery as a man with a plan to rob a block of apartments. It might work, but it might be thrown into chaos by his team members (some more reluctant than others) or modern technology (cameras, recorders, and even a CB kit). Can he beat the odds and succeed?
The cinematography is interesting with the forward/backward/jerks but unpleasant. The rest is fairy unremarkable. While a curiosity, I cannot recommend watching it for simple entertainment. Some of the right wing anarchist rhetoric and the crime justification is fun to listen to.
couldnt get behind sean connery at all in any way. walken was good, the apartments were lush and the specifics of the disabled boy and his subplot/interaction with the plot was what i wish the whole thing could have been. a completely earnest moment under the surface of this film.
Wow, amazing!Everything the Oceans films aren’t, a masterpiece heist film, probably the best ever in my book. Lumets direction is fantastic, the details are incredible and it’s full of humour and tiny dramas to keep you entertained. it looks fantastic too, from the interiors to the brilliant photography. The cast are excellent, with Sean Connery’s magnetic performance at the centre and a cool score from Quincy Jones.
Malgré une excellente interprétation de Sean Connery, toujours aussi efficace, cette oeuvre de Sidney Lumet, passant sans cesse du genre policier à la comédie humoriste, reste tout de même secondaire, ne trouvant jamais ses marques et ses repères et s'épuisant bien vite dans un scénario sans surprise et finalement d'un intérêt inexistant. www.cinefiches.com
What started out as a would-be-study on surveillance became an unusually illogical, however tense, heist movie building up on its final third. Topics explored got lost or went unfinished, while script and characters developed on seemingly spontaneous reasons. It is hard, tho, to deny a distinct charm in the movie's nonchalant style.
Buon lavoro di Lumet,che anticipa un certo concetto di cinema che verrà riproposto negli anni a seguire da molti autori della New Hollywood.Il montaggio è certamente la cosa più originale,stacca e frammenta il tutto e quindi può esaltare o infastidire la visione.Qualche macchietta di troppo e musiche non sempre azzeccate,ma la regia è sempre dosata e gli attori gestiti degnamente....Un Lumet minore,ma non scarso.
Chris Walken so young and so full o' swag I could cry.Sean's grin & his post Bond look. Socks to The Anderson Tapes as Slick is to Heat.Pre-Michael Mann slickness.Post-Melvillian.Chit-chat & niceties during a "you shall not be harmed" heist. 70s sounds.The fonts and lettering of the opening and ending credits. The sliding policemen. The Pasolinian/Kubrickian death/S&M masks.Martin Balsam's walk & hair:THE classicness
The flashback structure around some of the heist scenes are a needless annoyance, but the script's cynical humanism makes up for it, and as a predictor of our current public society, Lumet's 'accidental surveillance' plot thread is kind of poignant and, oddly, reassuring.