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
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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 »
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 »
Lou Andreas Sand, a once famous model, recalls her past as she tries to make success in the modeling world of New York, her stressfull workdays, her affair with Mark, an advertising ... See full summary »
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 <email@example.com>
During the car chase scene, there is a large crowd standing on a corner when Bill Hickman's car makes a right hand turn, but when Roy Scheider's car makes the same turn, there are only two people there. See more »
I'm not gonna bag you. But I think you better think about this. You better worry about Kalish's pals and Festa's pals, because word has a way of getting around.
Vito Lucia the Undertaker:
What are you talking about? You're gonna let them know?You can't do this to me, Buddy!
[jabbing his hand hard into Vito's chest]
You watch me!
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Tepid direction sinks what could have been a classic
Sure, there are a few great set pieces - the opening sting, the car wash scenes, the chase. But for the rest this was a literal yawner; watching it in late evening I could barely stay awake. The problem, I think, is that producer Philip D'Antoni decided to direct the movie himself. He should have fired himself and hired an experienced director. Apart from the set pieces, there is no energy or pacing in the film, just long dialog scenes that never seem to move. Compare this to "French Connection," produced by D'Antoni but directed by William Friedkin. That one had hardly a dull moment; you always felt that it was moving somewhere. With a little script work and a director of Friedkin's ability, I think this could have been a classic. As is, it's basically a curiosity.
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