addehit I have seen over 650 movies and this one is special. Roger is a weird choice in the cast but he develops a special bond with Stacey keatch in this movie that reminds me of roger and tony Curtis in The persuaders. As a movie its very mixed, both with humor and action and that makes it very hard to really like. Because its trying to be both serious and silly. If you can look past this, its a great movie. I really recommend it. If you like movies, don't miss this one. This is a very special movie that has way to few followers and a ridiculously low IMDb rating this is a weird but lovable movie. Its not a masterpiece but its worth your time.Roger carries this movie on his broad shoulders. Without him this would have been a joke.See it.

Woodyanders This strangely colorless film blends elements from several different genres -- Mafia pictures, drug deal features, your basic shoot 'em up actionfest, and a standard car chase romp, all tied together with a mismatched buddy crime-fighting duo -- into a bland mishmash that crucially fails to develop a flavorful distinction which could have allowed all the disparate bits and pieces to jell into a pleasingly coherent and enjoyable whole. Moreover, the unmistakably British Roger Moore is horribly miscast as a partly Italian lawyer who's assigned by a powerful mob capo to nail the three brutal thugs who smuggled a million dollars worth of smack into the country by hiding the dope inside a large wooden cross. Moore, assisted by jocular grand prix professional race car driver Stacy Keach (who gives a solid, lively performance that's much better than the insipid material deserves), pounds the pavement for the dirtbags and uncovers a series of double and triple crosses which lead to a shocking revelation of a grim secret stemming from Moore's shadowy past. Maurizio Lucidi's merely adequate direction remains resolutely workmanlike from start to finish, putting too much emphasis on dull chitchat during the opening and middle of the movie. In addition, the poky, erratic pace and a curious sense of unfortunate restraint prevents this picture from acquiring both the baroque style and trashy vitality it needs to seriously cook. However, things do finally come to life in the reasonably sound and exciting last half hour, with a rousing car chase and a few bloody shoot-outs enlivening the general tedium. Still, the humdrum script that was co-written by noted screenwriter Ernest Tidyman (who also penned "Shaft" and "The French Connection") and future "Grease" director Randal Kleiser, sticks too closely to run-of-the-mill predictable and unsurprising crime thriller conventions, thereby making this mediocre outing a strictly middling and passable time-killer at best.

silverauk This is really a movie which has lost its interest by the time. The actors just seem to drive around like in a mediocre American police-serial. When people are shot, it is by a killer who appears and disappears and is everywhere. When there is a pursuit on the road, by accident three big trucks try to drive Stacey Keach from the road. I prefer Mannix or Kojak. The mafia is typical but described without any details or exactitude. The story has no point and nobody could believe it. Roger Moore is not only a lawyer, he must be also something as an SAS-agent capable of killing any professional killer. Who believes that?

iaido Roger Moore and Stacey Keach star in this Italian-American co-production, and try to be the Martin and Lewis of 70's crime exploitation cinema. The rigor mortis of Roger Moore was never more noticeable as it is here, playing the straight man next to the Keach's easygoing rouge. It's a rather stale exploitation film, with the typical one liners, car chases, shoot outs, and gratuitously bad dubbing of the Italian actors. The film does have one great highlight when Keach takes a gangster's car for a test drive, and in hair-raising fashion, wrecks it through the streets of San Francisco. Unfortunately, it all doesn't work- the comedy isn't funny enough, neither Keach or Moore are particularly convincing (especially Moore, who is as dry as a desert), the violence and stuntwork is middling, the story isn't very engaging, and the ending is painfully banal. There may be just enough `so bad it's good' work that 70's exploitation fans may be entertained, but no one would call it great.Just to give an idea what you're in for- in the finale, Keach (as Charlie) hides some dope in cans of powdered milk, stashed in the trunk of his car. Moore, to keep him out of trouble, pushes the car over a cliff and says, `It was only powdered milk, wasn't it Charlie? And, what's the use of crying over powdered milk?' You may now groan if you aren't already.