Tucker is a chronic underachiever and a loser. A Vietnam war veteran who just can't seem to keep out of trouble, in the years since his discharge. The only thing he got out of the war was ... See full summary »
R.P.M. stands for (political) revolutions per minute. Anthony Quinn plays a liberal college professor at a west coast college during the hedy days of campus activism in the late 1960s. ... See full summary »
Toward the end of his life F. Scott Fitzgerald is writing for Hollywood studios to be able to afford the cost of an asylum for his wife. He is also struggling against alcoholism. Into his life comes the famous gossip columnist.
Arms dealer Yolaf Peterson aims to make a sale to guerilla Mongo, but the money is locked in a bank safe, the combination known only to Professor Xantos, a prisoner of the Americans. Yolaf ... See full summary »
It is post-World War III. War is outlawed. In its place, are matches between large Robots called Robot Jox. These matches take place between two large superpowers over disputed territories.... See full summary »
Tucker is a chronic underachiever and a loser. A Vietnam war veteran who just can't seem to keep out of trouble, in the years since his discharge. The only thing he got out of the war was his skill with a rifle. Now, serving a long stretch in prison for murder, he has hit rock-bottom. But one day a man in a three-piece suit visits him in prison, a man he has never seen before, and informs him that he can walk out of prison a free man if he will shoot someone for them, no questions asked. Written by
Publicity for this picture declared that it was the first bad guy villain character role for actor Edward Albert. See more »
The bread truck carrying Tucker and Spiventa is shown driving across the Golden Gate Bridge in the southbound direction from Marin County to San Francisco. The very next scene, however, in which the prisoners are escorted out of the truck, clearly takes place under the roadway back on the Marin side of the bridge. See more »
Kramer, first as a producer and then a director, had been at the forefront in dealing with important social themes in Hollywood (THE DEFIANT ONES , ON THE BEACH , INHERIT THE WIND  and JUDGMENT AT NUREMBERG  were his best films); by the late 60s, however, his particular brand of investigative style went out-of-date. In its place largely in the wake of the Kennedy and Martin Luther King assassinations the Kafkaesque political thriller became fashionable; unsurprisingly, Kramer decided to try his hand at this as well but the end result proved middling at best.
He certainly had his heart in the right place by choosing Gene Hackman, one of the finest actors of his generation, for the lead role having already appeared in such superb pieces of alienation and paranoia as Francis Ford Coppola's THE CONVERSATION (1974) and Arthur Penn's NGHT MOVES (1975). His supporting cast looks impressive enough on paper, but they're given little to do: Candice Bergen (who's supposedly decorous here but is saddled with a highly unbecoming wig!), Richard Widmark (appropriately craggy in the role of a leading member of the secret organization), Mickey Rooney (amusingly cantankerous as Hackman's prison pal), Edward Albert (playing Widmark's young, ambitious and confrontational sidekick, thus making an interesting foil for the world-weary Hackman) and, in perhaps the least rewarding part of the lot, Eli Wallach (as Hackman's 'job' co-ordinator).
The film looks good but is bogged down by a rather icky central romance and the deliberate obliqueness of its narrative (starting with the hokey credit sequence). The effectively ironic revelation, then, is unfortunately followed by a number of other less convincing (not to say unwarranted) plot twists in quick succession the last of which even rips off GET CARTER (1971)!
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