Martine offers Terry a lead on a foolproof bank hit on London's Baker Street. She targets a roomful of safe deposit boxes worth millions in cash and jewelry. But Terry and his crew don't realize the boxes also contain a treasure trove of dirty secrets - secrets that will thrust them into a deadly web of corruption and illicit scandal.
A cab driver finds himself the hostage of an engaging contract killer as he makes his rounds from hit to hit during one night in Los Angeles. He must find a way to save both himself and one last victim.
When his mentor is taken captive by a disgraced Arab sheik, a killer-for-hire is forced into action. His mission: kill three members of Britain's elite Special Air Service responsible for the death of his son.
Frank Martin puts the driving gloves on to deliver Valentina, the kidnapped daughter of a Ukranian government official, from Marseilles to Odessa on the Black Sea. En route, he has to contend with thugs who want to intercept Valentina's safe delivery and not let his personal feelings get in the way of his dangerous objective.
Business is slow for Terry Leather, a London car dealer, married with children. He's an artful dodger, so Martine, a former model with a thing for him, brings him her scheme: a bank's alarm is off for a couple weeks, so let's tunnel into the vault. He assembles a team, not realizing her real goal is a safe-deposit box with compromising photos of a royal: she needs the photos to trade for avoiding a jail sentence - and MI-5, or is it MI-6, is pulling the strings two steps removed. A Trinidadian thug, a high-end bordello owner, and a pornographer also have things stored in the vault, so the break-in threatens many a powerful personage. Is there any way these amateurs can pull it off? Written by
Roger Donaldson said one of the most difficult days of filming was when he filmed the brothel scene. The scene called for the women to be walking around wearing only garters. However, Donaldson said that when he went to film the scene he discovered that most of the women shaved their genitals, which would have been anachronistic for 1971. So the actresses had to wear pubic wigs called "merkins." This caused a problem because the merkins were hard to secure in place and kept slipping, causing Donaldson much aggravation. See more »
A shot of the exterior of Baker St. station includes a glimpse of the upper section and roof of a London bus driving by at speed. However, it is possible to deduce from the 'straight' rectangular shape of the bus' roof that it is one of the new generation of front-entry buses, possibly the DMS series, first introduced in London in the mid-70s. Prior to this time, the most common double decker buses in London were the Routemaster (RM), introduced in the early 1960s, and the ubiquitous RT, the definitive London Bus, first introduced in the mid 1940s, both of these bus types having narrower roofs with rounded edges. So there is no way that the bus in this particular shot could have existed in 1971. See more »
[while drilling a mileage meter back]
Another Terry Leather low mileage here.
See more »
Disclaimer: "The names of many people identified in this film have been changed to protect the guilty." See more »
I Believe in Love
Written by Steve Balsamo (as S. Balsamo), Dai Smith (as D. Smith), Rob Thompson (as R. Thompson)
Performed by The Storys
Published by Copyright Control/PRS-MCPS
(p) 2005 Hall Recordings
Courtesy of Warner Records
John Waller Management
www.thestorys.co.uk See more »
Nothing loud and boisterous. No over-stylized cinematography, pointless set-pieces, cheesy dialogue, or over-flowing emotions.
A perfect example of why the finest movie-making talent in Hollywood is British. And possibly the best caper movie of recent times.
Had this been from Hollywood, every fine detail of the complex subtext in the story would have been blown apart. Instead, everything is under-played, the characters are superbly realistic and believable, and the script sharp as a pin. And the cast is a brilliant ensemble.
Worth many repeated viewings for the subtle humour and to get the most out of the twisting plot developements.
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