Best movie of this year hands down!

A Brilliant Conflict

In truth, there is barely enough story here to make a film.

At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.

This movie is pure fun. The English dub is great. Eddie Constantine is a joy to watch on screen. The plot is interesting; mad scientist, using robots, and messing with blood types, you know standard spy stuff. But the movie's charm lies in Constantine as Al, as well as the various characters he encounters along the way. More enjoyable than it's sequel "Residence for Spies"/"Boarding School for Spies" - I really wish he had reprised this role for more movies. Unlike later Franco, there is nothing objectionable here, PG by today's standards. Suitable for kids. Interesting side note - it was actually filmed in color; although only B/W prints have surfaced on home media.

One of the better Jess Franco films stars Eddie Constantine sending up his tough guy image as a detective chasing the source of mind controlled people carrying out the whims of a mad man. Constantine is clearly having a good time and it carries over to the audience. To be certain the film isn't super spectacular, its limited of budget but often dated, but at the same time there is a certain charm. Its an amusing way to spend an hour and a half if you should run across it.6 out of 10.(Though try and find a letter boxed version the one I saw was a terrible pan and scan one that chopped off all sorts of things on the sides of the picture.)

Enjoyable early Franco film (which I watched via a recording off Italian TV), an espionage tale with tongue-in-cheek and the first of Franco's several Al Pereira adventures.It is given an extra edge by the presence of tough-guy Eddie Constantine who effectively parodies his image here, and seems to be having a ball doing it! Another major asset to the film was the screen writing credit of Jean-Claude Carriere who contributes intermittent touches of wacky humor, satirical barbs and wonderful dialogue – as in the scene where the Chinese statue 'speaks' to Al, and he thinks he may be hearing voices like Joan of Arc; or when his superiors showcase the various improbably lethal devices he will have at his disposal on his mission, and he quips that it's evident they've been watching the James Bond movies a lot lately! Robert Monell's 'Dark Waters' review captures this essence extremely well, I think:'ATTACK OF THE ROBOTS is a Spanish-French co-production made by the same creative team responsible for THE DIABOLICIAL DR Z (1965). Both movies were given a tremendous boost by the imaginative screenwriter Jean-Claude Carriere (who had worked for the great Luis Bunuel on many of his French productions). This perhaps explains the sarcastic French-style humor in ATTACK OF THE ROBOTS, which differentiates this from the more slapstick orientation of Franco's later Eurospy efforts (such as LUCKY THE INSCRUTABLE and KISS ME MONSTER [both 1967]). For instance, the opening assassination scenes include the murder of an ambassador and then a high church official, scenes that are staged with a slightly absurd, surreal touch which anticipates similar scenes found in future Carriere-Bunuel projects, THE MILKY WAY [1969] and THE DISCREET CHARM OF THE BOURGEOISIE [1972].'Unfortunately, the film loses steam around the middle where the basically dreary (and fairly silly) plot takes center-stage. In fact, the 'robots' are the film's least successful element: amusingly attired but also lacking a distinct air of menace; this was perhaps intentional but I felt it weakened the suspense considerably, because in this way Pereira was never really in any danger! Still, there are plenty of other diversions on hand, not the least of which are the film's two leading ladies – Francoise Brion and Sophie Hardy – who manage quite a nice contrast between them, apart from providing the obligatory (albeit chaste in this case) eye-candy!Curiously enough, the film was shot in color but released outside Spain in black-and-white (which fact is given away by the plot-point of having the robots change their skin color when they die, but this element obviously does not register on-screen!). Still, as it stands, the film elicits comparison with any number of internationally-produced film noirs of the 50s and early 60s, and especially the work of Orson Welles as well as Jean-Luc Godard's almost-contemporaneous ALPHAVILLE (1965) – no doubt Paul Misraki's scoring credit was no mere coincidence – which also starred Constantine as another detective, Lemmy Caution, who was featured in a long-running series of films on the big screen.The climax is hurried and hardly exciting (despite some lavish interiors, the film's production was all-too-obviously a cheapjack affair) – but the sight of super-villain Fernando Rey (not quite in his element here) getting his just desserts Moreau-like is reasonably satisfactory, in my opinion. Put simply, CARTAS BOCA ARRIBA is good, unpretentious fun most of the way and I certainly would not turn down an opportunity to watch some of the other films Franco made featuring his favorite detective – Al Pereira!

I happened to catch this foreign-made film by accident, many years ago, when I was just a kid. It came on TBS some time after midnight, and I started watching since it had something to do with secret agents. Later on, the old man asked me what I was watching, and I told him that I wasn't sure but that "this guy" was pretty good."This guy" that was referred to was Eddie Constantine. At the time, I thought he was just some minor European actor appearing for probably the first or only time in this minor spy caper. What came across was a certain attitude behind the coarsened, roughhewn character, which let you know that the actor did not take himself or the material too seriously. Constantine's hero stolidly made his way through the plot, doggedly determined to get the job done while showing as little emotion or concern as possible, and winning the viewer over in the process.In the years since, I was surprised to learn that Eddie Constantine was born in the US, and eventually became a singing star in France during the late 1940s-early 1950s, before becoming a film star in 1953. Until the close of the 1960s, he played numerous detectives, secret agents, gangsters, etc., in a string of European (mostly French) action-adventures that were often shot in the fast-moving style of American B-pictures.ATTACK OF THE ROBOTS was made in 1966, when Constantine's stardom was coming to an end (he would still have a long career ahead of him as mostly a supporting player, until his death in 1993). If his mere presence could raise the level of this material, it would be interesting to see some of the other action films from his heyday. Unfortunately, with the advent of infomercials, and scarcity of old European-made films such as these, you won't be finding them on the late, late show any longer.In any event, it's a lesser spy film to be sure, but if you're a true fan of the genre you will find some entertainment value even with this. There is the usual fantastic plot, here a nefarious scheme in which the evil organization seeks to control people of a certain blood type. Hence, Interpol is called in and agent Al Pereira (Constantine) is on the case. Also, included in the plot are the requisite megalomaniacal villain (played by Fernando Rey, five years away from FRENCH CONNECTION), and a not-so-innocent heroine (played by sexy Sophie Hardy).All in all, ATTACK OF THE ROBOTS is reasonably enjoyable on its own terms, taken for nothing more than what it was meant to be. But it is also a good introduction to the unique persona of Eddie Constantine, who managed to make the film a good deal more enjoyable.