VeteranLight I don't have all the words right now but this film is a work of art.

Acensbart Excellent but underrated film

Reptileenbu Did you people see the same film I saw?

Kidskycom It's funny watching the elements come together in this complicated scam. On one hand, the set-up isn't quite as complex as it seems, but there's an easy sense of fun in every exchange.

Steve Schonberger As a first point, don't settle for the television edit of this film, which for many years was the only way to see it. Find the restored re-release version. Much of the fun was left out of the television edit, and can only be seen in the restoration.Although the film credits a police technical adviser, the script doesn't seem to have paid much attention to him. When plausibility comes into conflict with wild plot twists or spectacle, plausibility rarely wins. But the writer- director is considerably better as a director; the scenes flow well, and the action scenes are always either thrilling or hilariously over the top.The acting is a mix, and sometimes it's hard to tell a badly-acted scene with one where an actor couldn't overcome the writing. But when a scene is unconvincing, it's not bland, it's funny.A lot about the film is pretty weak, but the spectacle of the chase scenes adds a lot to the quality of the film- making. Judging it on its merits as a police thriller, it's merely a "5", fair. But the film's entertainment value is much higher than that, not just for the chase scenes, but for the laugh value of the film in scenes where it goes wrong. So for fun it's a "9", excellent.Finally, I live in the Seattle area. The film is full of Seattle scenery, vintage 1976. Picking out scenes of Seattle, and marveling at the changes in the city over four decades, is a special pleasure for anyone familiar with Seattle.- -Here's a spoiler-rich summary of the film's events (from memory, with help on character name from AFI):The film begins with Carl, a hardened killer, disguised as a priest, bumping off a drug courier and traveling from Rome to Seattle with ten kilos of heroin hidden inside a fake ancient sculpture, a favorite McGuffin in 1970s crime films. Also aboard the plane is police detective Jackie Parker (Connie Stevens, who the movie poster calls "Scorchy"), who is trying to track the drugs and bust the smugglers. Other police meet Jackie at the airport, and each trails one of the suspects. The sculpture goes to Mary, an (apparently not too discerning) art collector. The dead courier's boss, Philip, learning of his man's demise, decides that Jackie (who, under cover as a private pilot, had befriended his wife Claudia) would be a perfect substitute courier.Jackie and the smuggling bosses visit Mary to retrieve the sculpture to deliver it to a restoration specialist, who is actually the Carl, to restore the statue by removing the drugs under Jackie's supervision. Carl shoots an assistant who is no longer useful, and flees, with Jackie in pursuit in an appropriated dune buggy.Thus begins the main spectacle of the film: a well-orchestrated, many-vehicle chase scene with some impressive stunts. When faced with a choice between plausibility and spectacle, the film chooses spectacle. When faced with a choice between strong-arm robbery and homicide, Carl chooses murder. The chase concludes with a motorcycle jump toward a Washington State Ferry.A few scenes later, smugglers press Jackie into flying the drugs to the San Juan Islands. Her plane isn't ready for a while, so she has a romantic interlude at her Lake Union home (a property so expensive that a real cop probably couldn't even afford to rent it for a weekend). The romance is violently interrupted by Carl and his goon Nick, who make off with the heroin.Jackie gives Philip and Claudia an update, and somehow everyone converges on the home of someone named Suzi. Lots of people start shooting and another big chase ensues. With the aid of a listening device, Jackie learns that the drugs are headed to a mansion owned by kingpin "Big Boy".Police stake out Big Boy's mansion, and Big Boy arrives by helicopter. A giant shootout ensues, and both the cops and the crooks demonstrate remarkable tactical incompetence. As villains start getting away, Jackie sets out in pursuit of Philip in a police helicopter that had arrived during the shootout. They face off at Gasworks Park, she catches him, he shoots her with her own gun, and he kills him with her back-up gun.

pepe4u22 I had the misfortune of watching this movie that I picked up as a throw-in at a garage sale. I should have left it. The premise of the movie is believe it or not Connie Stevens as a crime fighter. Connie Stevens is totally miscast and totally unbelievable. Connie was only believable when she was taking off her clothes or making out with her boyfriend when she had to do acting well I have seen more range chili dipping wedge shots at my local golf range. When she tried to do action scenes running or handling weapons I was looking for her beautician and stylist to come and help her. When she handled a gun I was waiting for her to shoot herself in the foot. If this was a black comedy or a satire on action movie I may have given it a 3. Since the lowest rating is a one this is what I gave it. This is a movie that starlets make when they reach that certain age (Ms. Stevens in reality was never really a star any particular stature unless you look at who she married.) The movie did show her true range when she had her clothes off unfortunately since her voice and when she tried to act tough I literally had to pause the movie since I was laughing too hard. I only recommend this if you are truly wanting a step on the bizarre side.

moonspinner55 Bargain-basement claptrap has female narcotics agent in Seattle about to blow the whistle on international heroin ring. Two well-directed action sequences (one involving a speed-buggy, the other a helicopter) saves this tacky flick from turkey status. Connie Stevens tries hard, but her girlish voice hasn't caught up with her body (most often she sounds like she's trying to be coquettish). Her hair is a marvel though: frosted wings that do most of her acting for her. Masochists will revel in one sequence which typifies the rest: as Connie's lover is grinding away, he is murdered and Stevens, realizing there's a dead man on top of her, opens her mouth as wide as she can and screams like Fay Wray; the killer comes into the room, hauls off and slaps Screaming Connie across the face like a cheap whore. It's almost as jaw-dropping as the Statement-Making finale, which is so self-important it goes beyond cheap laughs. * from ****

pmullinsj That gives you an idea of this textbook American International Picture with a lot of heroin in valuable objets d'art and many vehicle chases,as well as some on foot, with some very good, some inept beyond belief.Bill Smith in his 'Falconetti' period is the main reason to watch this: when he runs criminally away, darting here, darting there, it's so gracefully tigerlike it looks like surfing or serious dance.There is some wonderful footage of Seattle cityscapes in a long chase in which Connie changes from a taxi to a hot rod and Bill gets off the train to get in a beautiful orange Pontiac Bonneville, and later--aided by one of those conveniently passing trains--manages to get a motorbike whose owner he kills in that just-for-the-hell-of-it way that started happening in the early 70's; and so we get a little nice nostalgia for his fabulous biker flicks. This he takes right on into Puget Sound, but Connie just pulls up--then, inexplicably, jumps into the water as if to catch him now by swimming--with all of her clothes, including a full-length coat, still on. As the scene dissolves, she hadn't swam very far, and momentarily is back in her apartment, holding far less of the wet clothes she had been wearing, but still wearing the coat (which looks dry by now) and an orange scarf over her head, whose hair looks dry by now.And to think that all these garments, but part of all she owned in the film, came from Pleasure Dome Boutique of Hollywood...This cannot have been synonymous with Frederick's, already an established name, although perhaps Marlene Schmidt had some of those kinds of items when she was primping in her soft-porn-style apartment...Connie also sometimes screams like a real street feline, the kind that has fights in alleys, a most remarkable horrible snarling sound.She'd played the Marilyn Monroe character in 'The Sex Symbol'. She would do better to portray Mary Hart of "Entertainment Tonight," even if she is older than the subject, as she is temperamentally suited for this role (not yet projected, alas.)There is a far too explicit-looking scene of Connie making love with her boyfriend who is then shot in the back by Smith through the window with a spear.This was a pioneering moment in the new coitus interruptus styles: Having made a clean break with the past, we were on our way to a most thoroughly unbrave new world.