ELMORE LEONARD'S thrillers leap so easily to the screen that it's astounding so few of them have gotten there. Even with the kind of slapdash, unsightly production that's been given 52 Pick-Up, Mr. Leonard's stories make terrific, unself-conscious B-movies of the sort that are more and more rare.
52 PICK-UP is "Death Wish" for yuppies...But all the slime and grime can't camouflage the sameness of this standard, divide-and-conquer story.
This is a well-crafted movie by a man who knows how to hook the audience with his story; it's Frankenheimer's best work in years.
52 Pick-Up loses its sense of social texture in the last third when everyone begins to die by decree of formulaic three-act screenwriting, and its indifference to the plight of Harry’s wife (Ann-Margret) is unseemly, but the film is an often nightmarish gem awaiting rediscovery.
52 Pick-Up is a thriller without any thrills. Although director John Frankenheimer stuffs as much action as he can into the screen adaptation of Elmore Leonard's novel (previously filmed by Cannon in Israel in 1984 as The Ambassador), he can't hide the ridiculous plot and lifeless characters.
Excellent performances. Best of all is the casting of Williams as Bobby Shy - as shamblingly conspicuous as the brother from another planet, golliwog hair and a too-tight raincoat that clings like a hobo's fart, this is a guy who wants a good leaving alone.
Oddly inert, except when it’s blithely nasty, 52 Pick-Up may very well suffer from mismatched sensibilities: those of grim thriller director John Frankenheimer and witty crime novelist Elmore Leonard.
John Frankenheimer has directed 52 Pick-Up in a style so devoid of nuance, the movie almost watches itself. From the crosscutting between Scheider and Ann-Margret that opens the film (an exchange of glances so portentous you think an earthquake is about to hit Los Angeles) to the way every emotion is underlined with tight close-ups, 52 Pick-Up is so aggressively explicit that it might have been made for an audience of trained apes.
One of the most downright sleazy major films in recent memory, 52 PICK-UP works mainly because of its vivid villains, who are more intriguing than the hero. Glover is superb as the totally amoral blackmailer who uses his superior intelligence to keep his dimmer comrades in check.
John Frankenheimer熟悉地从政治题材入手故事，86年的片子相比70年代气氛相对轻松一些。故事其实有点希区柯克很多片子的影子，明明是道德缺陷主角（出轨），行为却被正义合理化，某种程度上是讽刺剧。
节奏不好 不过那个夫人的穿搭蛮好看的
三倍速都觉得剧情很墨迹，凯莉普雷斯顿打了个酱油露个大白兔就领盒饭下线了。 PS：男主玩了一手二桃杀三士。
渣男逃出生天，买单的却是原配和情人，后者更是红颜薄命
看客串。
这里有Kelly Preston的精彩演出，早期的kelky在不少片子里打酱油，戏份不多。颜值很高，印象深刻
开局设计很吸引人，之后每况愈下，结尾有点不着边际。剧作为精英白男洗白，由受害者变为复仇者，其实他也是妻子和情人的间接加害者。看似是硬汉，实则是个假英雄和纸老虎。弗莱肯海默的手法还是老练，也迎合了1980年代，类型杂糅了犯罪片、色情片、惊悚片。
男主是拥有军工专利（一项爆炸技术）的企业老板，因出轨而被三渣男勒索。男主与三渣男周旋，借刀杀了其中二个，最后靠自己的专利送走了第三个。
一星给美丽的凯丽
三位罪犯勒索的方式就很弱智，至于全片的节奏更是墨迹的可以，大美女凯丽普雷斯顿在里面牺牲了一把。
竟然是洗白背着老婆在外面乱搞二十岁小女孩的中年猥琐男，换成现在我等再渣的渣男都不敢这么拍。
混混碰上西装强硬派，结果自讨苦吃。贯彻始终的精英视角，某些桥段的黑色幽默。
BSC频道HD中字110分钟，不合理的剧情，这波匪徒搞这么大动静究竟为了啥？过程贼墨迹，但是架不住果女多多，给三星。
配乐很出彩。P.S.封面诈骗……
#BD#
像是粉红色杀人夜的另一种版本。。。前者是德帕尔马的恶趣味后者则是弗兰克海默的怪异黑色幽默。。。ps三个坏蛋中的黑大个简直像帕特里克.尤因的兄弟。。。
英版蓝光原盘
1990.06.01
★★★
三个混混勒索军情企业老板但老板是Roy这种猛男所以混混们就吃不了兜着走吧。在小房间里威胁他放宰了他女友的snuff video这段最好，别的就不怎么讲究逻辑了。男主这个型的市场感觉在90年代被小道格拉斯占领了（就是看似白领实则干起来比流氓还猛..
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