Sitting Target

source: Sitting Target

Trailer—Sitting Target

Sitting Target

With a gossamer wing-span, this curiosity from the early 70's is a quirky hybrid of Demetrius and the Gladiators versus Darker than Amer. Flight of fancy aside, the determination of this director JUST TO GET THIS RELEASED must have been mind-boggling. Without Jill St. John as his muse, Mr. O. Reed would have canoed upstream without his proverbial paddle. Shocking one instant, lovingly discerning the next, this mild upgrade of post-War alienation seems to say escape is all there is for this Bluto-type force of nature with plenty of rope on hand. He just won't give up his sense of "Come and get me, (warden, coppers)"! He's there when he needs to be or so it seems. Justice is a foreign word when bad haircuts and razor-thin wit run the terrain. References to St. Matthew would hardly seem out of order. Tough and grinding like a Mac Truck. A relentless 8 out of 10 for a special "action" flick. Reminiscent of Get Carter, but a bit more brutal on the senses. Highly recommended

I really fell for this movie when I saw it on TCM. A simple, straight forward, almost ordinary story but this movie is much more memorable thanks to it's stylish direction and good cast. A very intense movie. To me it's just as good as the more known "get carter" from the same era.

There were a number of brutal thrillers made in Britain in the early 70s ("Get Carter" and "Villain" were others) and this may be the nastiest of the lot. There are few likeable characters and a lot of unpleasant violence in the film, although it can boast a strong cast and stylish direction from the underrated Hickox, who made the excellent (if equally violent) "Theatre of Blood" the following year.

To this day SITTING TARGET is one of the most bleak and disturbingly violent thrillers Britain has ever produced . I remember watching this one TV in the early 1980s and being slightly shocked as to how nihilistic it all was . If there's any type of message in this film it's that there's no honour amongst thieves and that it's bad news to drive a motorcycle while the petrol tank explodes . It's also one of the few British films to show the mind numbing living death of long term imprisonment and this alone makes it worth watching . It's also interesting to note that Ian McShane is playing a villain . It might not be surprising casting with hindsight since we'll all remember McShane for his scene stealing role in DEADWOOD but before that HBO series he was always cast as likable good guys

Incarcerated thug Oliver Reed breaks himself, his crime partner, and another cell mate out of a maximum security prison in England; he's after his wayward wife, who has announced her desire to divorce Reed to be with another man and have his child. Occasionally confusing or confounding drama with indecipherable dialogue (at least to the untrained ear) and a twist finish that is more ridiculous than clever. After an obtuse start, director Douglas Hickox keeps the pace bristling with violence or the threat of violence, while brooding Reed and buddy Ian McShane are a fine tough-guy pair. The cinematography, art direction, and editing are all quite stylish, and fans of the crime genre will enjoy it, but the female characters are batted about like useless playthings and Edward Woodward has a thankless role as an inspector who's never around when needed. ** from ****

As brutal and bleak as you're like to find in an early 70s British crime thriller. Director Douglas Hickox pulls no punches with this balls-to-the-wall potboiler. Oliver Reed has a plethora of anger management issues, mostly directed at unfaithful wife Jill St. John. He doesn't allow prison walls to stop him from getting to her. He breaks out with an assist from sleazy fellow con Ian McShane. It's an unrelentingly depressing film with Reed in top form and McShane every inch his squalid equal. Hicokox's direction is dynamite (the prison break is a nail biter). Jill St. John affects a slight English accent, never overdoing it and is quite convincing. She's also a knockout, making it easier to see why the demented Reed goes to such lengths to get to her. The cinematography is by Edward Scaife, who shot everything from the Connie Francis vehicle FOLLOW THE BOYS to the WWII classic THE DIRTY DOZEN. The supporting cast includes Frank Finley and the great Edward Woodward.

Excellent old revenge movie from a time when Britain still made movies that didn't involve period costumes or floppy haired smiles! Ian "Lovejoy" McShane and the Late Oliver Reed bust out of prison, with the sole purpose of killing Reeds Wife (Jill St John) who wants a divorce. The film is relentless in its portrayal of Reed as a cold blooded man with a single deadly purpose, yet still shows him simmering with a pent up violent rage that cant wait to explode into violence at any time. I have heard many call this movie a poor-mans version of "Get Carter", but that tag does it a serious injustice. Gritty, Dark, Bleak and Brutal (for its time) something about this movie keeps me watching it 30+ years after its release. Stylish, Original, and highly recommended, especially if you are sick of "Feel Good" cliches.