The Worst Film Ever

I don't have all the words right now but this film is a work of art.

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

The film never slows down or bores, plunging from one harrowing sequence to the next.

If proof was needed that Gower Champion should never be allowed on a film set again, this movie provides it. Based pathetically on Donald Westlake's second "Dortmunder" novel, it's so bad that the names had to be changed to protect the innocent. Dortmunder becomes Balantyne. Kelp becomes Karp. Scott's forced to operate with caterpillars glued over his own eyebrows, making him appear to be the love child of a Hobbit and Jerry Colonna. And everything that is laugh-out-loud funny in the novel is "please kill me now" awful here.While Robert Redford was terribly miscast in "The Hot Rock" (George Segal would have made the better Dortmunder), at least he was not strapped to the screenplay and director from hell as Scott was. The fans of Westlake still await a decent "Dortmunder," but hold out little hope. Walter Matthau, who would have smacked that role out of the park, is gone. But this is a case where you really want to hunt up the novel and never ever go near this film, drunk or sober.

This may be the one that George C Scott cringed about, but WHAT a laugh it was! Certainly not an intellectual feast, but why should every movie be just that? I like my mind to be tickeled, but laughs are always welcome and badly needed to! This is one of those movies that is small and light and fluffy and is simply truly great entertainment, simply because it is so unpretentious. If you want a break from every day life, this is great watching with gags galore, and it is precisely Scott's very annoyed attitude that makes it work. His "Leave me alone you crazies" attitude makes the other characters carry through a vision of a crazy world, that is despite its outrageous insanity closer to the truth of every day senselessness than we all would admit. I first saw this one as a kid, and I can still laugh about it. It is from the same period as "Harold and Maude" and while by no means carrying any social or philosophical comments like Harold and Maude, it certainly has that irreverent flair of the 70s. Does a movie always have to be serious? Whatever happened to simple laughter and charme and the kind of babedom and sexiness displayed by a young Joanna Cassidy? Every character punched through and was flavorful and strong. I will also take this movie's camera-work over anything done with the 90s vintage (and still in use) "new look" stupid jiggling camera and zoomiezoom wiggle-jiggle and zoom-in-zoom-out-pretending-to-be-documentary stuff that makes me sea sick and makes me hit the "off" button regardless of what the story line may be! This one is one of my all time favorite comedies , and I don't care what critics think or Scott thought! It feels right and it lives in a different world. Now isn't also what movies can be all about?

Why can't Dortmunder catch a break? It's bad enough for him that his capers always go awry in the great book series by master plotter Donald E. Westlake, but that's the joy of those fictions. But to have such lousy movies based on his exploits is insult on injury (and irks this particular fan).The fact is that every Dortmunder flick I've seen has been awful, and this one is no exception. Okay, so they changed the character names (no doubt because the rights were tied up), but name aside, Walter Upjohn Ballentine is still a weird interpretation of the John Archibald Dortmunder from the books. Where did that lisp come from? And the crazy eyebrows? Did Scott contribute those affectations or was he directed to do so? Scott might have actually been good had he played the character as written, but this whole movie is so misdirected (in every sense) and miscast I wonder why they even bothered. It's so strange. Westlake's Dortmunder novels could practically be shot as written (with little trimming for time considerations), yet the filmmakers who tackle these undertakings seem bent on ignoring the timbre of the books and making unwatchable crap.In the books the characters are much more calm, cool and collected. Everyone in this is shrill, stupid and over-the-top.Best avoided.

Adapted from the Donald Westlake novel of the same title "The Bank Shot" stars George C. Scott and a very young Joanna Cassidy (Zora, the snake-dancing replicant of "Blade Runner" fame). A farcical entry in the caper genre whose hook is a plan to steal a bank (mind you, not rob the bank, but to heist, not to mention hoist, the very structure itself), the film exhibits the dry humor, zany sight gags, and whimsical plot twists characteristic of post-Alec Guinness and "Tom Jones" British cinematic comedy.As a 1974 Hollywood release, "The Bank Shot" was somewhat ahead of its time, preceding both the Monty Python invasion and the American popularity of films like "A Fish Called Wanda." This film is nowhere near as successful as its more famous British counterparts, but it does have its moments and, viewed from a contemporary perspective, an appealing aura of mid-'70s nostalgia replete with long-haired disguises, peace signs, garish fashion, and a plot-central splashing of hot pink paint. Like "Tom Jones" but to a far lesser degree, the film's whimsy manifests itself in its visual an aural techniques not only in its storyline. Some instances include a stunning silhouette sequence that plays like a moving shadow box, an insistently self-conscious (and ultimately annoying) use of voice-over narration, and several outrageously choreographed chase scenes (one involving a golf cart and a caterpillar tractor and another in which everyone - even a pedestrian bystander - is moving backwards were memorably wacky).Befittingly, the caper gang in "The Bank Shot" is a mixed bag of nut cases, some more effectively cast than others. In a minor role so early in his career that the credits still list him as "Robert," the always interesting-to-watch Bob Balaban is, well, interesting to watch. Also adding quirkiness and some adept physical humor to the cast is Don Calfa, who is perhaps best remembered for his role as Paulie the hapless hit man in "Weekend at Bernie's." Less successfully cast - indeed the killer of every scene he's in is Sorrel Booke as the sidekick who springs criminal mastermind Walter Ballantine (George C. Scott) from jail in order to pull off "the shot" on the bank.Scott himself, despite his great success in heavy satires like "Dr. Strangelove" and "The Hospital," seems strangely miscast or under-directed in this film. He so underplays his role that he often seems quite nearly asleep. One might be tempted to attribute the sleepwalking to the sodium nitrate (saltpeter) his character continues to consume in large doses even after escaping from prison, but so far as I know the chemical only causes impotence, not somnambulance. Joanna Cassidy, on the other hand, plays the gang's money man, hanger-on, and would-be seductress with a grating manic intensity.All in all, this gang isn't quite charming enough (British enough?) to make us care whether they succeed or fail in the heist nor does the screenplay supply enough chuckles to quite sustain the film's comic tone. "The Bank Shot" is nevertheless worth a look, but only in a widescreen version that preserves its original Panavision format. It can't afford to surrender even the slightest bit of the visual humor around its edges to cropping or panning.