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The Almost Perfect Bank Robbery (1997)

A cop and his expensive fiancée, a bank teller, plan the perfect bank robbery. All goes well until the FBI suspects, almost immediately, an inside job. Their plans to move the money out of ... See full summary »



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Cast overview, first billed only:
Cyndee Lafrance
Frank Syler
Mujibur Rahman
Greg Hohn ...
Ernie Tarnowski
Rebecca Koon ...
Marlene Syler
Jeffrey Pillars ...
Ed Syler (as Jeff Pillars)
Janell McLeod ...
Eleanor Royce
Phyllis Carter
Tuggle (as Frank Taylor)
Keith Flippen ...
Lucile McIntyre ...
Mrs. Cherry
Lanelle Markgraf ...


A cop and his expensive fiancée, a bank teller, plan the perfect bank robbery. All goes well until the FBI suspects, almost immediately, an inside job. Their plans to move the money out of the country, then just to cover their tracks, make them look more and more guilty. Written by Cynan Rees <cynanrees@hotmail.com>

Plot Summary | Add Synopsis







Release Date:

21 July 1999 (USA)  »

Also Known As:

Napad prawie doskonaly  »

Filming Locations:

Company Credits

Show detailed on  »

Technical Specs


Sound Mix:


Aspect Ratio:

1.33 : 1
See  »

Did You Know?


Filmed in 1996 but not broadcast in the US until 1999 (European broadcasts in 1998). See more »


[first lines]
Cyndee Lafrance: Well, what about after the robbery?
Frank Syler: You mean the same day?
Cyndee Lafrance: Why not?
Frank Syler: You don't think having just robbed a bank is good enough?
See more »


References Basic Instinct (1992) See more »

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User Reviews

1 November 1999 | by (Berkeley, California) – See all my reviews

Endearing, fast-paced offspring of Raising Arizona (1987) and "actual events", this jinxed comedy debuted on US tv during the dog days of summer when everyone I know was still on vacation. Please be home the next time it's aired.

Filmed several years earlier at a moment in history when it would've been hyped as a Brooke Shields/Rip Torn vehicle, "The Almost Perfect Bank Robbery" will one day be known as a wholly-owned subsidiary of Dylan Walsh's commanding performance.

A catchy score, richly-detailed comic touches in every scene, great attention to the peculiar supporting cast (at least five of whom were huge fun to watch in Radioland Murders), and the genial spoofing of our fondness for mall openings and "Wheel of Fortune"--none of the above would've kept me glued to the tube if it weren't for the adhesive that Dylan Walsh's performance applied to all that silliness.

He created a character SO earnest and SO focused (in perfect contrast to his scatterbrained sweetheart) that purely in sympathy I HAD to take the movie as seriously as he took his caper. While the rest of the cast diverts our attention with comic vignettes, all the suspense, all the credibility, and our only hold on this runaway train of a plot--it's all to be found on Walsh's face and in his body language. As the pressure builds, he lets us see his confidence begin to crumble, just a little at a time, while laboring to hide his feelings from everyone else.

Brooke Shields's lie-detector scene will make you laugh out loud (good acting, great writing), but Walsh's lie-detector scene will make you sweat. Does any actor since Peter Lorre do pure anxiety better than Dylan Walsh?

The director, who clearly enjoys drawing our attention to so many visual details, was right to comment that his movie was "almost" perfect; no movie is perfect if it can't manage a scene in a car without yanking the rear-view mirror. I HATE that! We've overcome the difficulties of ceilings and wall-to-wall carpeting, but in this age of Industrial Light & Magic, why oh why is it still so hard to show us the rear-view mirror?

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