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If you like to be scared, if you like to laugh, and if you like to learn a thing or two at the movies, this absolutely cannot be missed.

There's no way I can possibly love it entirely but I just think its ridiculously bad, but enjoyable at the same time.

It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

The British sure knew how to deliver gut-punching, bittersweet crime- thrillers in the 70s and "Sitting Target" easily ranks up there as one the best. Convicted killer Harry Lomart and his fellow inmate Birdy Williams break out of prison, where Harry only has one thing on mind. To exterminate his unfaithful wife who before breaking out asked for a divorce, since she met someone else, was pregnant and couldn't wait any longer for Harry to serve his time. Harry and Birdy plan out their actions and go about trying to get some money of their former criminal partners. Also on their trail is police inspector Milton, who originally caught Harry and is determined to protect the hunted woman. At heart the focused plot (adapted from Laurence Henderson's novel) is a simple, but well done revenge story fuelled on by Oliver Reed's assertively grim and snarling performance. It's a turn of torment, but lusting with aggression as Reed goes about his dogged, unpleasant business. Working alongside him is the outstanding Ian McShane. He brings a certain smarmy and self-assured presence that calculatedly fits, which makes his character somewhat hard to read. The combination between the two was very dependable and the relationship believable which makes the fanatical twist very hard-hitting as things are not quite what they seem, although it's not that unforeseeable. The drama then thickens leading to a furious climax. Jill St. John is splendid as Harry's wife and a steadfast Edward Woodward makes the most of his straight-up police inspector role. Also making appearances are Frank Finley, Freddie Jones, Robert Beatty and the ever enticing Jill Townsend. Director Douglas Hickox brings to the table a stark, harsh reality with its rough violence, gritty London locations and compact pacing. There's plenty of character drama stemming from its tough, but distinct script that when it came to the short bursts of action (which is carefully placed and orchestrated), it does pack a wallop on the emotional front, as you feel every last drop. Innovative camera angles stem from Edward Scaife's cinematography of a brooding backdrop and Stanley Myers' magnificent music score is truly baiting in its unhinged instrumental tones. "Sitting Target" is a raw, no-bull revenge yarn with many striking contributions. "We're doing everything together, like always".

Under-appreciated British crime thriller with antisocial characters and an antisocial plot: a convict finds out his wife is pregnant by another man, so he busts out of prison to hunt her down with every intention of killing her. No time wasted on "redeeming" characters. No goofy humor or chase scenes through clubs playing bad, dated music. Just a spare, tense study of two vicious men (Oliver Reed, Ian McShane) hot on the trail of a treacherous moll (Jill St. John). A nemesis detective (Edward Woodward) tries to intervene, but never fouls the nihilistic tone. Solid performances and one of Reed's best as an uber-thug who does push-ups on the ceiling of his jail cell, is sitting on a volcano, and only lets on what he has to, even to his partner. The script does the same thing, imparting information on a need-to-know basis, doing so smoothly as it races toward Hell. All in the back-lots and stygian prisons of a cold, drab London, with a musical score by Stanley Myers that perfectly enhances the story and mood. A must for fans of seventies crime thrillers, British or otherwise, that take no prisoners.

Convicted murderer Harry Lomart (Oliver Reed) escapes from prison with cell mate Birdie Williams (Ian McShane) in order to kill his wife (Jill St John) who has been unfaithful and has got herself pregnant in the process. Lomart also uses the opportunity to settle old scores with figures from London's underworld who grassed on him before skipping the country with £200,000 he has hidden away in an abandoned movie house. But, who is Pat's new lover and is he closer to Lomart than he actually realises?Violent and brutal crime drama in the wake of Get Carter (1971) and, while it cannot even hope to match the quality of that seminal movie, it benefits from the direction of Douglas Hickox who manages to stage some exciting action scenes and makes maximum uses of the locations including around the Clapham area of London and the prison scenes (shot in two Irish jails) creating a genuine sense of realism and add to the hard hitting action sequences. Films like this make one regret that the director's talents were not used more consistently in the British cinema. The script by Alexander Jacobs is at times difficult to follow but the cast of British TV regulars such as Edward Woodward, Ian McShane. Frank Finlay, Mike Pratt and Freddie Jones also contribute to the enjoyment of this meaty but underrated thriller. Reed is totally convincing as the escaped convict alternating between outright thuggery and a softer and more compassionate side to his character while Jill St John, the imported American leading lady who is best known for her role in the Bond movie Diamonds Are Forever, is only moderately effective in her part.

A dramatic story of revenge and doublecrossing, as a criminal breaks out of jail and set out to kill his cheating wife. Just an appetizer for that great Michael Caine-thriller "Get Carter"(1971) from which it seems inspired. Not surprisingly -like "Carter"- in the end no one seem to win, reminding us on that old saying about digging your own grave. But it does have it's moments; like the escape scene, the biker cops and the laundry, and the car wrecking scene. A fine cast as well, including Edward Woodward as the cop out to protect St.John from Reed's wrath.