Sheila Levine is a Jewish-American princess and a native of Harrisburg, Pennsylvania. An innovative, bright, but painfully introverted individual, she comes to New York City with her mother... See full summary »
Sidney J. Furie
Rebecca Dianna Smith
Jean-Louis Trintignant plays a French contract assassin hired by a Los Angeles crime family, ostensibly to perform a hit on some other mafia target. But simultaneously, as he arrives to do ... See full summary »
When the small criminal Macklin is released from prison, he learns that his brother was shot by two mob killers. He didn't know that the bank he robbed was owned by the syndicate. When he's... See full summary »
A rich, jet-setting playboy has a secret life: he's also a professional Mafia hitman. When he decides it's time to retire from that life, he finds that his former employers don't like the ... See full summary »
A boy kidnapped by two mismatched hitmen puts them at each other's throats while being driven to their employers, possibly to be killed. Cohen, an older professional becomes increasingly ... See full summary »
Brooks Wilson is in crisis. He is torn between his wife Selma and two daughters and his mistress Grace, and also between his career as a successful illustrator and his feeling that he might... See full summary »
Eva Marie Saint,
New York City cops wage a war against assorted hoods and criminals after one of their own is brutally killed by a hoodlum. Seven-Ups refers to the minimum jail time each of the crooks will have to spend if they are caught. Written by
Patrick Knightly <firstname.lastname@example.org>
An ancillary branch of the police department, the Seven-Ups were so named because any criminals busted by them were guaranteed to spend at least seven years in the slammer. See more »
When the car comes out of the car wash, (the car with the cop in the trunk) the attendant is drying the driver's window which is half way down. Then as he opens the door to get in and force the driver over, the window is all the way up. See more »
It is now clear that the true golden age of American film was from the mid-60s until just before the release of Star Wars. Before then, there was too much Hays Code-constricted pap. With Star Wars, the green light was lit for most films to be directed at children and morons, a practice which continues to this day. THE SEVEN-UPS, truth be told, contains a couple hackneyed lines of dialogue -- "We can do this the easy way, or we can do it the hard way" is one -- but I'm damned if I can find anything else wrong with it. (In fact, that line may not even have been stale when this film was made.) THE SEVEN-UPS demonstrates all that was right with the best films of the golden age: sparse dialogue, realistic acting, real locations (winter in a dirty New York has never looked better/worse), propulsive stories, and, yes, the best car chase ever filmed. Bill Hickman is the driver Scheider is chasing (you will recognize him from Bullitt), and the structure of the chase is fairly similar to the McQueen one, but I prefer Scheider's facial intensity here, the pacing, the terrific close-ups of the schoolchildren, and the shattering conclusion. (That VW bug going about 2 mph always bothers me in the Bullitt chase.) A stringy, screechy score by Don Ellis sets the perfect mood. THE SEVEN UPS: bleak, grim, action-oriented, grown-up. This is a film that couldn't be made today; there's no "gimmick" for the kiddies or preposterous ending. Thank you, Philip D'Antoni, Roy Scheider and Tony Lo Bianco: for as long as cop films are watched, THE SEVEN-UPS and its 1970s brethren (e.g., THE FRENCH CONNECTION), will set the standard.
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