good back-story, and good acting

As Good As It Gets

A Masterpiece!

This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

Looks cheap, grungy and is thinly plotted, but the cast (James Coburn, Robert Culp, Susannah York, John Beck and Charles Aznavour) along with the Greek scenery and aerial stunt work (hang gliding) go a long way in making this an entertainingly sweeping, old-fashioned action joint with striking showpieces. The opening (the kidnapping) and closing sequences (the in and out rescue at night) do manage to rally plenty of tension especially during the climax set against an isolated medieval monastery in the mountains, but in between that it's somewhat mechanical in its elaborate structure. A waiting game and plans being formulated with some preachy inclusions. Well we have revolutionary terrorists fighting imperialism. Gladly Coburn's hardy presence keeps you hooked for the ride. Director Douglas Hickox paces it rather well and his streamlined handling offers numerous nitty gritty passages, despite some stagy moments. Music composer Lalo Schifrin gives the presentation a bit more oomph with his grand, luxurious arrangement. A tough, but breezy 70-s drive-in action adventure.

"Brannigan" director Douglas Hickox's above-average adventure epic "Sky Riders" qualifies as an entertaining but improbable abduction opus. James Coburn of "Our Man Flint" fame stars as a smuggler who struggles to rescue his ex-wife and two children from the clutches of a treacherous group of trigger-happy kidnappers that call themselves World's Activist Revolutionary Army. This swiftly-paced, PG-rated, 91-minute suspense thriller draws its title from the hang gliders that Coburn employs to snatch Susannah York and two children from a mountain-top monastery. Robert Culp co-stars as wealthy industrialist Jonas Bracken who married Susannah York's character after she divorced the Coburn hero. "Sky Riders" was the first time that the picturesque monastery was used in a Hollywood actioneer. Several years later, producer Albert R. Broccoli used the location in the Roger Moore James Bond thriller "For Your Eyes Only." The aerial assault on the monastery is spectacular stuff, and Coburn appears to be performing his own stunt when he clings to the skid of a helicopter in flight. Unfortunately, despite its scenic settings, dazzling cinematography, and big-name cast, "Sky Riders" suffers from the absence of a strong villain. Scenarists Jack DeWitt, Greg MacGillivray, and Stanley Mann penned the screenplay from a story by Bill McGaw, Hall T. Sprague, and Garry Michael White. Two problems plague this aerial actioneer. They don't have an intimidating villain, and the dialogue remains pretty bland. French singer Charles Aznavour plays a Greek police man who wants to arrest the bad guys. Lalo Schifrin's music enhances the bloody violence

The movie starts with machinegun-toting terrorists killing the hired help and kidnapping a wife and child. The husband seeks his wife's former husband's help in getting them back. The gang's hideout territory scenery is breathtaking, an abandoned and isolated monastery in mountainous Greece. The inside of the monastery depicts ancient Christian Orthodox iconography. Coburn lines up a travelling troupe of circus-act type hang gliger performers to teach him how to fly. These are the early design of hang gliders, with a rogallo wing design. The rogallo wing consists of fabric stretched out in a triangle over two leading-edge hollow aluminum spars, with another aluminum tube for a spine, and another for a cross bar, and a lower metal loop for the dangling pilot to grip and steer by. Very much like a modern delta-style steerable kite. These were dangerous but beautiful designs, which are capable of going into a stall and nose dive, straight into the ground from a thousand feet up if you are not careful and experienced, but a delight to watch in flight. Before he approaches them, Coburn watches the travelling aerialists' circus-style open-air act, as the heartstoppingly colorful hang gliders perform aerial maneuvers with breathtaking poise and beauty. There's a pretty girl in the troup. One flyer pretends to lose his grip and plummets dozens of feet into a nearby body of water while his pilotless hang glider drifts lazily down without him. So Coburn approaches them and asks to be taught how to pilot one. Somewhere along the line, while learning to fly, Coburn gets casual and cozy, and proposes to the performers that they join him in the rescue. "If we fail," you get your money back," the teacher volunteers. "Right!" Coburn grins skeptically and knowingly, to which the others laugh. Coburn isn't bitter, but he's no fool, and suddenly they have all been won over to his side and looking at the challenge as a team. Like I said, Coburn at his best. From there on, it's a class act as Coburn and the aerialists make a stealth infiltration of the sky-high monastery via hang glider, and seek to get the woman and child out and escape again on their hang gliders before the terrorists can discover and stop them.

As the old stripper in "Gypsy" says, "Ya gotta have a gimmick!" This action film's gimmick is that the only way to stage an imperative rescue is via hang glider! Culp plays an official living in Greece whose wife York and their two children are taken hostage by a sketchy band of terrorists and held for ransom atop an abandoned monastery. The remote building sits high on a pillar with only similar pillars around it and deep valleys and cliffs as the surrounding terrain. Culp works with the police (led by an almost Clousseu-like Aznavour) while York's first husband (and the natural father of one of the children) Coburn takes a different tack. He pairs up with hang glider expert Beck and his team of specialists to stage a rescue. Coburn isn't bad in his role, though he's hardly challenged by the lame script. York, whose low voice is down there with Vanessa Redgrave's at this point, hasn't got much to do but act worried and ludicrously stand up to her captors. One scene has her sliding to the floor in fear while her terrified preschool daughter lies alone on a cot! Culp tries to convey concern, but his transformation from diplomat into gun-toting savior is rather unrealistic. At least Coburn was already portrayed as a man of action from the start of the film. Even more preposterous is the presentation of the circus performers in Beck's troupe suddenly becoming firearm-trained mercenaries and SWAT-level hostage rescuers in a matter of hours! Always likable Beck has the misfortune of being shown in a silly, grey, sideshow leotard in his first appearance. (One of his gaggle includes Orsatti, best known for plummeting from a table to the lighted ceiling/floor in "The Poseidon Adventure" and appearing in numerous Irwin Allen-produced films before gaining stature as a noted stunt coordinator.) Aznavour is sometimes unintentionally funny in his role as the diminutive, but exacting police chief. Andrews, despite his billing, barley appears at all as a grizzled seafarer. Folks expecting him to figure into the story mustn't hold their breath. Notable 60's personality Zou Zou also barely appears. The chief asset of the film is the spectacular Grecian scenery and the proliferation of location shooting. Also, the shots of the hang gliders in action do provide a modicum of excitement. Unfortunately, a pervading sense of inanity hangs over the film. The opening capture sequence is ridiculously shot. The boy hilariously mouths (while the terrorists are killing virtually everyone on the estate), "They're wearing hockey masks." Since the terrorists kill everyone but the captives, why bother wearing them? They take them off anyway once they reach the monastery!! Then when the big rescue comes, wouldn't someone in charge have noticed that the escape route takes the participants DIRECTLY OVER the place they've just escaped from, thus exposing them to just as much danger as before?? This sort of stupidity goes a long way in decreasing any points the film has scored in the way of star power, interest level or excitement. Still, if one checks his brain before viewing, the film can provide a modestly entertaining diversion.