Waste of time

Save your money for something good and enjoyable

This story has more twists and turns than a second-rate soap opera.

It's easily one of the freshest, sharpest and most enjoyable films of this year.

Trackdown is another of those well made flicks of the Seventies. The film, though dry in parts, pulls you in with a story, with not such a happy ending, tragic and shocking. The film with it's good intentions, does turn nasty, yet is violently effective, one could say. It's not what you foresee in the early part of this film, especially if judging it, against the country song in the opening. The scenario here has been done, many times, but the nasty turn of incident here, ups the film's merit. We have a bored, young and beautiful girl, (Karen Lamm, who in real life, died quite young, I believe) who's 'spose to be 17. She sets out for Hollywood, leaving her farm and Mumsie behind, who we never see, where we apparently learn from the small informing dialogue, things aren't quite particularly great between the two. Big ox of a brother (Jim Mitcham- Yes Robert's son) returns and sets out to save her. Lamm quickly ends up in a slick sex slavery operation as a high priced call girl, run by a notorious older pimp, Johnny D, who fronts a topless dancer and entertainment agency. An older woman, also in the rackets, and is obviously doing Jonhny D (a younger Ann Archer, at her sexiest) befriends her, while stubborn and determined Mitchum, kicks down doors, and causes a ruckus, trying to find Sis, almost passing her in one scene. What are the chances? He teams up with a young hustler (Chip's Erik Estrada) who was bedding her, while also working with a pretty social worker (Cathy Lee Crosby) who tells the stubborn headed Mitchum, in a heated moment, "The kids run away, cause the parents are such idiots". Mitchum, who's never really been to Hollywood before, as we can gather, later tells Crosby "I've been a hunter all my life. A hunter survives on instinct, and right now my instinct's telling me, it's not good". He couldn't be more right. Sadly, the last thirty minutes of Trackdown is the strongest, starting with that one brutal scene in the bedroom, and in how Mitchum and company use their smarts to gain revenge. Mitchum's character, a man with a plan, you do root for, but too you can't help get angry at him, to how he's ended up in this position, as you don't believe for two secs, he wants to take a step back, and think how this could of been prevented. In this secret context, Mitchum's character is used as an illustration. We need to focus on the problem, for every runaway, so we can prevent kids taking off, with some not so happy fates ensuing. Trackdown isn't the best movie of this kind, but it's a well worth insight into how these sort of things go down, and how the these scumbags operate in a not half bad movie, considering it's era. Trying to Trackdown Trackdown on VHS, etc, well all I can say, is, I wish the best of luck. See what little of Mitchum's face muscles move, or is it, a play down on his character. You decide.

Rugged Montana rancher Jim Calhoun (an earnest and effective performance by Jim Mitchum) searches the seedy underbelly of Los Angeles for his naive 17-years-old runaway sister Betsy (the comely and appealing Karen Lamm), who has become entangled in a dangerous world of drugs, vice, and prostitution. Director Richard T. Heffron, working from a taut and involving script by Paul Edwards, relates the gripping story at a brisk pace, makes excellent use of authentically gritty urban locations (sleazy bars and clubs, grimy back alleys, Hollywood Boulevard in all its grungy neon glory), maintains a tough seamy tone throughout, and stages a couple of last reel action set pieces with real skill and verve (a sequence involving two elevators is both original and very exciting). Moreover, this film warrants extra points not only for the way it vividly captures the coldness and harshness of the big bad city, but also for having the courage to pull off a genuinely shocking and unexpected downbeat plot twist about two thirds of the way into the narrative. The fine acting by the able cast rates as another substantial asset: Erik Estrada as smooth, yet decent small-time hustler Chucho, Anne Archer as shrewd and classy madame Barbara, Cathy Lee Crosby as helpful and sympathetic social worker Lynn Strong, Vince Cannon as ruthless crime boss Johnny Dee, John Kerry as the cynical Sgt. Miller, and Ray Sharkey as slimy pimp Flash. Tony Burton pops up in a memorable minor part as a would-be mugger transvestite. Gene Polito's sharp cinematography gives this picture a pleasing vibrant look. Charles Bernstein's funky grinding score hits the get-down groovy spot. Recommended viewing for fans of hard-hitting 70's drive-in action fare.

It might paint itself as a rough and tumble, by-the-numbers 70s revenge thriller and for most part it's typically generic in its story's progression, but there are some strong themes and capable performances by its cast led by Jim Mitchum and Cathy Lee Crosby. There's a brutal and downbeat side to some scenarios, but never does it becomes overly exploitative despite its angle on forced prostitution and underground violence. The bad guys are scum… truly scum. Where the seedy backdrop of Los Angeles breeds crime and those people take advantage of young naïve runaways looking to hit it big in LA. Some sequences do pack a punch and the script, while not entirely rounded does do enough to evoke some emotional pull when it comes to the overall payback. Sixteen year old Betsy Calhoun flees from her Montana ranch heading to Los Angeles, but her dreams soon become a nightmare when she's kidnapped and sold to a prostitution ring. Her older brother Jim heads to Los Angeles to find her, but finds little help until he meets a social worker and a former gang member who knew of his sister's kidnapping. Jim Mitchum in the lead role is stolid, but fitting with a more psychical performance told through his facials and in doing so making it more effective. You do feel his pain. He shares good chemistry with a head strong Crosby. Half of the film focuses on his search, while the other follows that of Karen Lamm's wholesome turn as Betsy. Watching how she becomes a prostitute, to how she copes with it and the touching relationship she forms with Anne Archer's prostitute character. Some moments do have a disturbing edge. Not unexpected, but they're powerful because there's enough time invested in these characters. So the story moves between different plot arches before all coming together and offering a surprise or so. The film looks bare-bones and on the cheap, but it remains authentic with its on shot locations and gritty action exchanges. Nothing about the direction really ignites itself, but there are set-pieces that craft out an exciting barrage of vicious violence. Like the intense gunfire jousting involving moving lifts was a nice touch. Its plain look might have that made for TV feel, but it doesn't hurt it. At times it can be slow and talky, but its steady handling keeps to its strengths and never over delivers on the old-hat set-up."You know. You're breaking my chops".

United Artist seems to have ignored this 1976 classic for it's not even on video! Karen Lamm runs away from her Montana home to go to the city and gets raped by mexican gang and sold to a high class beverly Hills pimp Johnny Dee (well played by Vince Cannon). Jim Mitchum plays her brother who goes to Los Angeles looking for her with a help from Cathy Lee Crosby and Erik Estarda. Great finale, Good action, like a suspenseful action sequence on the roof of and in the elevator at Johnny dee's building, to the finale, which involves a high speed car vs a rifle (which also had some "distance" bloopers)! Great cast (with early performance as Ray Sharkey), and Hollywood later sort of remade it with "THE COWBOY WAY" with Woody Harreson 14 years later. Intresting note is Ivan Nagy is credit was "story by", when he is the director that was boyfriend of Heidi Fleiss in real life. I think the film is not on video because of musical copyright problem (Kenny Rogers sings the end credit song). The Late Vince Cannon could've been good villian actor, it's too bad he never did much films. The film was re-released by the producers (not United Artist) in 1980 with Estadra on the cover holding a knife with Cathy Lee Crosby also on the poster. The new poster said something like "He's a killer, He's lover, and only Cathy Lee Crosby can tame him". False advertisement, but the film is worth a good release back then as it still stood up to the action films of 1980. And it is still a great exciting action film with a important message!