
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 masked blackmailers appear with a video tape of Harry and his young mistress. He's been set up, and they want $105,000. 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 aga... (Full plot summary below)
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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 masked blackmailers appear with a video tape of Harry and his young mistress. He's been set up, and they want $105,000. 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?
Leave your thoughts about 52 Pick-Up.
| Chicago Sun-TimesRoger EbertThis is a well-crafted movie by a man who knows how to hook the audience with his story; it's Frankenheimer's best work in years. |
| Miami HeraldBill CosfordELMORE LEONARD'S thrillers leap so easily to the screen that it's astounding so few of them have gotten there. Even with the kind of slapdash, unsightly production that's been given 52 Pick-Up, Mr. Leonard's stories make terrific, unself-conscious B-movies of the sort that are more and more rare. |
| Ozus' World Movie ReviewsDennis SchwartzThis is one of the few films taken from an Elmore Leonard novel that should please the author's readers. |
| eFilmCritic.comScott WeinbergOverbaked, underfed Elmore Leonard adaptation. |
| Washington PostRita Kempley52 PICK-UP is "Death Wish" for yuppies...But all the slime and grime can't camouflage the sameness of this standard, divide-and-conquer story. |
| Slant MagazineChuck Bowen52 Pick-Up loses its sense of social texture in the last third when everyone begins to die by decree of formulaic three-act screenwriting, and its indifference to the plight of Harry’s wife (Ann-Margret) is unseemly, but the film is an often nightmarish gem awaiting rediscovery. |
| LarsenOnFilmJosh LarsenOddly inert, except when it’s blithely nasty, 52 Pick-Up may very well suffer from mismatched sensibilities: those of grim thriller director John Frankenheimer and witty crime novelist Elmore Leonard. |
| Reel Film ReviewsDavid Nusair...a thriller that's woefully lacking in thrills... |
| Los Angeles TimesPatrick GoldsteinA dull, plodding thriller...It’s not a bad premise for a seamy film noir, but the results are a major disappointment, especially considering that the script was written by tough-guy novelist Elmore Leonard (who authored the original best-seller) and talented young playwright John Steppling. Not only is the dialogue stilted and showy, but neither writer manages to make much sense out of the novel’s complicated proceedings. |
| Washington PostPaul AttanasioJohn Frankenheimer has directed 52 Pick-Up in a style so devoid of nuance, the movie almost watches itself. From the crosscutting between Scheider and Ann-Margret that opens the film (an exchange of glances so portentous you think an earthquake is about to hit Los Angeles) to the way every emotion is underlined with tight close-ups, 52 Pick-Up is so aggressively explicit that it might have been made for an audience of trained apes. |