Vashirdfel Simply A Masterpiece

Voxitype Good films always raise compelling questions, whether the format is fiction or documentary fact.

Lachlan Coulson This is a gorgeous movie made by a gorgeous spirit.

Billy Ollie Through painfully honest and emotional moments, the movie becomes irresistibly relatable

shakercoola Crime caper with a buddy act thrown in. It's an Italian production and so the foreign cast members are dubbed, though Roger Moore speaks fluent Italian as and when required. Moore plays an English-Sicilian lawyer, nephew of a Sicilian crime family head who now operates out of San Francisco. Moore teams up with Friscan wiseguy Stacey Keach as they track down some drug smugglers who've cross the line, coming into conflict with a wider criminal underworld. There are impressive car chase sequences and shoot-outs, but the double act never really goes up the gears despite good screen chemistry. Moore comes over a bit stilted while Keach is the funnier of the two. Although scripted by the Academy Award winning screenwriter of The French Connection the film suffers from poor editing and some shoddy camerawork at times. The film might have some interest value for viewers who have a curiosity for a story that is hard to fathom.

Ralf Thomas Siegel In my opinion, the ratings are somewhat unfair, possibly because they compare the film with current productions. The film is from 1976 and therefore should be measured at the standards of that time and here, I find, it still exceeds the average. The two main actors, Roger Moore and, more specifically, Stacey Keach, are the main reason for this. Some complain about the English dubbing. About this I can say nothing, but I can imagine that a bad dubbing can mess something, or all here. Well, the German Dubbing is very good, both protagonists have the well- known sync voices, Roger Moore, for example, from his James Bond films. Both act as buddies and complement each other excellently, just Keach's role brings loose the film excellently and humorously. The music is better than the beats from other Italian films of the 70s. Also the production and the existing budget is higher. I often read 'low budget film' but as mentioned before, compare it to the standard Italian classic flick and not with an James Bond Production. The two auto- action scenes are very well implemented, also the filming sites was well-considered. Surely we have here no top film belonging to the IMDb Top 250, but in my opinion synonymous not the superfluous film, which is only waste of time. It is a solid, versatile action tiller who can be given a chance. In German its called Abrechnung in San Francisco, meaning Last billing in SF, which suits much better than Street People. A weak 7, but a 7.

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.

Wizard-8 Aside from the novelty of seeing Roger Moore (as a half-Sicilian!) and Stacy Keach, there really isn't much of interest here. It's mostly people talking - all dubbed. Even Moore and Keach are dubbed! (Using their own voices, which leads to a weird effect) There are a few not-bad chase sequences, but there's a sloppiness to them, as there is to the entire production; this movie really screams, "Italians made this." Bobbing cameras, slightly blurred photography, uses of a zoom lens is more than enough evidence for that. Only for people into Italian cinema of this genre.