Ernest (Stick) Stickley returns from prison, and very soon he gets involved with his old friend in a drug-running deal that goes sour. Hired by a rich investor, he tries to walk the line, ... See full summary »
Radio host Alan Bird witnesses how an ice cream van is attacked and destroyed by an angry competitor. This leads him into the struggle between two Italian families, the Bernardis and the ... See full summary »
Ex-CIA hit-man running from his past (Malone) finds just how difficult it is to retire when he runs accross a small town controlled by mercenaries and a family that's resisting their ... See full summary »
A collection of characters threaten to cross paths, unknowingly, during a night in the big city. The film focuses on two hit men (Reynolds and Forsythe) who are bound to collide with Cates,... See full summary »
Tom Sharky is a narcotics cop in Atlanta who's demoted to vice after a botched bust. In the depths of this lowly division, while investigating a high-dollar prostitution ring, Sharky ... See full summary »
Professional thief Ernie takes Mike on as an apprentice, but while Mike clearly has "larceny in his heart", it will take him a long time to get as good as Ernie. Written by
Jon Reeves <email@example.com>
Man, I never met anybody who did crime for a living. I mean I had a cousin once who held up a gas station on his bicycle, but he was nuts.
Runs in the family, huh?
Hey, you with some kind of organization?
Yeah, uh, Northwest Homeowners Association.
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an assuming film that flew too low beneath our collective radar
Burt Reynolds broke out of his leading man pigeonhole to attempt, for once, a more believable role, playing a middle-aged, low-rent burglar who enlists the help of a dumb but loyal grease monkey and then proceeds to give him lessons in both larceny and life. There are a few heists along the way, but this more a character study than a caper film, and it works in large part because of the rapport and timing between Reynolds and his blue collar sidekick Casey Siemaszko. Both characters are losers, and it might be argued that losers make more engaging heroes, perhaps because they're easier to identify with. In the spirit of earlier Bill Forsythe films it's a slim but disarming comedy, with an extra measure of depth in the canny screenplay by John Sayles, as always the working man's champion, who along the way makes some minor but interesting points about the haves and the have-nots.
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