Konterr Brilliant and touching

Dorathen Better Late Then Never

Keeley Coleman The thing I enjoyed most about the film is the fact that it doesn't shy away from being a super-sized-cliche;

Quiet Muffin This movie tries so hard to be funny, yet it falls flat every time. Just another example of recycled ideas repackaged with women in an attempt to appeal to a certain audience.

Vlassis Tzo Pros: Music 9/10 (Lalo Schifrin's music gives more tense especially at the action scenes) Scenery 10/10 (Meteora are really breathtaking... we should see more often this place in movies) James Coburn 8/10 (Cool as always... Classic Coburn) Cons: Scenario: 4/10 (Plain scenario, no surprises... ok it's a 70's scenario but still they could have work it more... I mean James Coburn fighting Leftist terrorists on Meteora?..) Direction 5/10 (Hickox isn't Hitchcock, that's for sure... aerial shootings though where actually good) Conclusion: It's a classic 70's action movie. If you decide to spend your time to watch it you won't regret it. But the next morning you'll not remember a lot. Maybe only the stunning scenery of Meteora. It's 7/10 by me.

Robert J. Maxwell Some fine performances from James Coburn and some of the rest of the cast, plus picturesque Greek locations, can't provide the thermal that would lift this out of the abyss of the gimmick movie.At heart, it's a routine film of a millionaire's family being kidnapped and then rescued by Coburn and half a dozen hang glider pilots from a circus troupe. We get to know the millionaire, Robert Culp, and the kidnapped wife, Susannah York, because they are familiar figures. We also get to know the local chief of police, Charles Aznevour, a Greek with a French accent. Except for John Beck, who heads the circus troupe and teaches Coburn how to fly and whose chin seems to be a granite massif, the other flyers are faceless and nameless, although they too are risking their lives in a daring assault on the ex monastery where York and her two kids are being held.The opening scene has the villains bursting into Culp's Greek mansion and shooting down all the servants before making off with York and the kids. The ransom is five million dollars. Culp, a nice cooperative guy, is willing to pay but hasn't got five million bucks. No matter because the whole ransom business is dropped from the plot anyway, eclipsed by a long and chaotic shoot out at the monastery.The editing really is execrable. So is the screenplay. Coburn seems to learn how to fly a hang glider in five minutes under Beck's tutelage. York doesn't get any lessons at all but can still take the controls during the escape when her companion is wounded. Oddly enough, the movie is built around the use of the hang gliders, which were a novelty at the time. (Earlier novelties included wet suits and Scuba diving; viz., "The Wreck of the Mary Deare," "Thunderball." Later, there were sky divers.) Yet the shots of the hang gliders aren't thrilling, as they should be. Much of it is at night. And the images of mountainous landscapes are jumbled and rolled about carelessly.After the escape is effected and the monastery is under assault from a horde of Greek astynomia, led by Aznavour, who has even given Robert Culp a rifle and dragged him along, some of the hang gliders circle back to the monastery, when they could easily head straight away from the area of danger. The gliders are unarmed but they keep flying around and providing convenient targets for the villains' machine guns.However, for all its flaws, it's a thought-provoking film. The thought it provokes is that no power on earth could ever get me to leave the ground in one of those flimsy contraptions.

lost-in-limbo 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.

Poseidon-3 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.