Fairaher The film makes a home in your brain and the only cure is to see it again.

Edwin The storyline feels a little thin and moth-eaten in parts but this sequel is plenty of fun.

Yazmin Close shines in drama with strong language, adult themes.

Staci Frederick Blistering performances.

classicsoncall So much talent, so little accomplishment. George Segal, Karen Black, Hector Elizondo, Paula Prentiss, Robert DeNiro and Burt Young - can you come up with a better lineup for the early Seventies? I'm definitely in the minority here after reading the many stellar reviews for "Born to Win", but this was just a complete bore for me. That generally happens when one of the defining scenes involves a spaced out junkie (Segal) attempting to steal a car on the street, and the owner (Black) comes off accepting it as kind of cute. I don't get it. Nor did I get the rest of the film. It didn't help that the print I viewed had muffled audio and much of the dialog was difficult to hear, but I don't know if a better quality transfer would have helped. Besides that, don't blink, or you'll miss the second half of the cast I mentioned earlier. 'Born to Lose' would have been a better title.

saicalum George Segal's career encompasses a large body of work, spanning decades. I've seen only a few of his movies. "The Hot Rock" was a great ensemble comedy. "Terminal Man", timely and dark, pegs the other end of the spectrum. It's safe to say the 1970s were about challenging the Old Guard. In Hollywood, this meant reinvention and the search for Truth begun anew. From industry insiders all the way down to you and me it's understood "truth in film" is synonymous with or defined as risky and unprofitable, something other than standard fare. And though overused, the phrase 'they don't make 'em like that anymore' is applicable here, because "Born to Win" was produced for reasons other than profit. Its story is roughly drawn and its characters hunger for a pure, painless resolution that you know will never come by the end of the first scene. George Segal is at the center as J, a heroin addict who spends his time visualizing new plans for his next fix. All other characters within his orbit advance his desparation. There's a very palpable truth in the uncertainty the characters feel. They live, but have no lives. Segal's character has never called a shot in his life, yet he knows from years of experience how it will turn out, with him behind the 8-ball. Karen Black plays the love interest who extends to him the hope of salvation, only to be swept under. Hector Elizondo, Robert De Niro, Paula Prentiss and JJ's main junkie pal Billy (Jay Fletcher) exist to keep the downward spiral swirling. A refreshing and enjoyable film for people who feel a nostalgia for challenging, resonant stories that strike a chord as pure as a tuning fork.

rosscinema While low budget filmmakers in California were making films like "Psych-out" and "The Trip" with Fonda and Nicholson and Hopper it was different in New York. Low budget filmmakers on the east coast took a more tougher look at drugs and it usually took place on the streets of New York. This film is about a drug addict named J (George Segal) who has the tattoo "Born to Win" on his arm and he's always doing favors for a local dealer named Vivian (Hector Elizondo) who is becoming annoyed by J. One day J meets Parm (Karen Black) who is a free spirited girl and they both become attracted to each other right away. J is becoming more desperate and he even resorts to robbing some of the people he does favors for. Two dirty cops (Robert Deniro and Ed Madsen) tell J that they want to bust Vivian and they want him to help. They won't bust J because they want to keep him on the streets but they do make his life even worse than it is. This film was directed by Ivan Passer who is a competent director but has only had a mediocre career making movies. But he does a good job here and all the characters are portrayed as lowlifes. Even Paula Prentiss is a drug addict in this film and it's a strange bit of casting to have her in such a role. Good use of New York locations as it was shot right in the middle of downtown and it gives this film that authentic street look. One of the reasons that this is interesting to view is spotting the actors in early roles. Segal had already broke through with an Oscar nomination in 1966 and he obviously was trying new ground as an actor and Black was fresh off an Oscar nomination herself. Early look at Deniro and Elizondo and Burt Young pops up as a thug about midway through. This has that sad and ambiguous ending but that adds to the impact of this tough and gritty little film. All the performances are pretty good and I would have been interested in seeing Prentiss in a larger role. This doesn't get discussed much when people talk of the New York films of the 1970's but it is a well made low budget entry that others should view.

nbott This is one I had never heard of, but it is very interesting. The filmmaking style is definitely that of the late 60s' and 70s'. It has an ending one should have known was to going to happen but it is no less jarring to the heart. While you are watching this film of a loser, you are on his side hoping that he will make it. As you laugh at the silly predictable situations our hero gets into, you are still assuming he will make it. Does he make it? See the film. The sound on the DVD I watched was hard to follow at some points but the film is worth the effort.The script is very creative although not entirely successful. There are moments where you can not really believe this could happen but it does. The acting by George Segal and Karen Black are excellent. By the way, drugs were even bad way back in the 70s'.