6.8 | / 10 |
Users | 4.0 | |
Reviewer | 3.0 | |
Overall | 3.0 |
Harry Mitchell, an L.A. manufacturer with a fancy car, a nice house, and a wife running for city council, has his life overturned when three hooded blackmailers appear with a video tape of Harry and his young mistress. He's been set up, and they want $100,000. To protect his wife's political ambitions, Harry won't go to the police; instead, he shines them on and then doesn't pay. They up their demands, so he goes on the offensive, tracking them down and trying to turn one against the other. Their sociopathic leader, Alan, responds with violence toward the mistress and menace toward Harry's wife. Will Harry let up and pay off Alan or can he find some other solution?
Starring: Roy Scheider, Ann-Margret, Vanity, John Glover, Robert TreborThriller | Insignificant |
Crime | Insignificant |
Drama | Insignificant |
Action | Insignificant |
Video codec: MPEG-4 AVC
Video resolution: 1080p
Aspect ratio: 1.85:1
Original aspect ratio: 1.85:1
English: DTS-HD Master Audio 2.0 (48kHz, 16-bit)
None
25GB Blu-ray Disc
Single disc (1 BD)
Region A (locked)
Movie | 2.5 | |
Video | 3.5 | |
Audio | 3.5 | |
Extras | 1.0 | |
Overall | 3.0 |
Before the great Elmore Leonard adaptation explosion of the 1990s, bringing the likes of “Get Shorty,” “Out of Sight,” and “Jackie Brown” (based on his novel, “Rum Punch”) to the big screen, there were slim pickings when it came to authoritative productions using the author’s colorful and threatening literary world. 1986’s “52 Pick-Up” makes a game attempt to commit Leonard’s universe of tough guys and big problems to celluloid, even attracting John Frankenheimer as a director -- perhaps the most leathery moviemaker working at the time. Even armed with surefire elements of sleaze and underworld chicanery, “52 Pick-Up” barely registers a heartbeat, stumbling through a confused narrative that strives to examine a man facing the biggest mistake of his life, but ends up detailing the actions of three impossibly idiotic thugs, which throws off the intensity of the effort. Select scenes crackle with tension, and star Roy Scheider does his professional duty to make his character appear together when he’s actually falling apart, but this isn’t steady work from Frankenheimer, who’s lost in the particulars of porn and criminal buffoonery, never achieving necessary suspense.
There's some obvious age to the AVC encoded image (1.85:1 aspect ratio) presentation, which doesn't provide a particularly fresh viewing experience. Aside from some pronounced speckling and minor banding, crush emerges periodically throughout the picture, smothering frame information in a few sequences. Colors look a tad flat but remain true to their sources, with an adequate read of reds emerging from bloodshed and blazing neon during visits to adult establishments. Sharpness is only passable (grain being more noisy than textured), best with pained close-ups, and detail is generally acceptable with set decoration.
The 2.0 DTS-HD MA sound mix does benefit from a heavier score, featuring compelling synth throbs that enliven the action, preserving an atmosphere of suspense. Dialogue exchanges are suitable for this type of low-budget entertainment, with nothing lost as emotions burst due to pressure, keeping within a comfortable range despite thinness. Sound effects, from gunplay to explosions, are adequate, lacking distinct detail. A slight presence of hiss is detected, but it's nothing distracting.
Instead of tying up loose ends with intelligence, forcing Harry to pay for his sins, the conclusion of "52 Pick-Up" transforms into a cartoon, with Alan playing the Snidely Whiplash part, essentially tying Barbara to train tracks as a way to spur her fatigued husband into action. It's an unfortunate close to a movie with potential, viewed through select scenes of Harry's torment and his misguided but satisfying pushback when it comes to the demands of his blackmailers, eventually turning them against one another. Frankenheimer doesn't seem interested in the nail-biting aspects of the material, showing more concentration on the feature's sleazier side, filling the picture with topless encounters and graphic murders. It renders this Leonard adaptation decidedly unpleasant, taking the zip out what appears to be a fairly clean design of comeuppance and paranoia.
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