Yo, there's no way for me to review this film without saying, take your *insert ethnicity + "ass" here* to see this film,like now. You have to see it in order to know what you're really messing with.

At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.

The first must-see film of the year.

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.

. . . so he jumped at the chance to make THE CROUPIER WHO KNEW TOO MUCH there during the waning days of the Bautista Regime. Not yet fighting shoulder-to-shoulder with the Castro Boys as he shot his final flick, CUBAN REBEL GIRLS, a few months later, Flynn plays a patsy or pawn of a bigger game throughout THE BIG BOODLE. As Mr. Flynn settles for a screen lover slightly older than his 14-year-old Real Life preference, he appears oblivious to the fact that shadowy figures were beginning to coalesce around him off-screen, in an eerie parallel to the men constantly tailing his "Ned Sherwood" character from the start to the finish of BOODLE. Frankly, I'm sort of shocked that John Garfield's Ghost did not appear to Errol at 3 AM some sultry Cuban night, warning him that if the McCarthy Boys could get away with snuffing HIM out at Age 39--no questions asked--then Errol himself risked being shuffled off to a similar fate (now that he was pushing the geriatric age of 50) UNLESS HE CHANGED HIS WAYS. But Errol seems to focus on Ned's problems here, clueless to the fact that In-Like-Flynn did not appeal to I-Like-Ike Americans, who'd prefer Out-Like-Flynn.

Boodle? What a silly word to use for a movie. Anyway, Errol is a casino dealer in Havana when someone passes counterfeit dough at his table and then he gets beat up for it and the cops think he's the counterfeiter and then people try to kill him and then enter two femmes and some action and smart Alic dialogue and chases and fight and more wise cracking and some sentimental stuff and red herrings tossed in here and there but all the way Errol has a nice suit and tie and band-aid over his eye but soon all the good guys and bad guys converge on the old fort in old Havana and naturally the final fight has to take place at the railing above the sea where the sharks are circling and Errol wins and walks away into the sunrise with the hot chick. The End. Roll credits. It's not awful, it's just not that good.

The prospect of tropical nights in Havana and some income that he wouldn't have to pay entirely to all Uncle Sam in back taxes must have persuaded Errol Flynn to do The Big Boodle. Shot entirely in Havana, I'm sure Errol enjoyed the night life if nothing else.Flynn plays a croupier in a Havana casino, another of those American expatriates. One night a woman passes some counterfeit pesos to him at the blackjack table. He confronts her, but she blows him off. Then after leaving work, he gets assaulted by two thugs and when the police find the phony money on him.The police aren't any help, the police inspector Pedro Armendariz treats Flynn like a criminal and to be fair he does have the phony currency on him. Still he's left to his own devices to pursue the investigation and it leads to a pair of high living sisters in Gia Scala and Rosanna Rory and a number of their acquaintances.The best thing about The Big Boodle is the location photography. Of course color would have been nice, but it is in fact a noir type film, Errol's only venture into that genre. The final scene is a running gun battle in Havana's famous Morro Castle with Flynn and villain Jacques Aubuchon.Errol looks at least 15 to 20 years older than his actual age of 48 when The Big Boodle was made. He wanders rather listlessly through the role, maybe he'd have liked to have done some noir features back in his prime. He's clearly too old to be believably buckling any swashes.Beyond the final scene, The Big Boodle moves at a snail's pace, a really sad project for Errol Flynn to be involved with.

A reluctant actor from 1953 on, Flynn roused himself for this unremarkable film. After splitting from Warner Brothers in 1953 he chose William Tell as his first solo effort, eager to star and produce. Flynn's finances never fully recovered from the resulting quagmire. This 1957 film arguably got his attention because as well as giving him a much needed pay cheque, it was also filmed on location in Havana. The location work is it's best feature. The Black and White photography adds to the Havana experience. The film is also helped by a good support cast, plus a plausible turn from Errol Flynn. The story, what there is of it, is about a world weary Croupier Ned Sherwood (Flynn) whose life gets almost fatally complicated "one night" when he finds himself with counterfeit Pesos. Pedro Armendariz is a delight as a crafty Colonel who doesn't believe or disbelieve Sherwood's story. Faced with no help from the Police Sherwood follows the funny money trail and uncovers some dislikable characters plus a larger plot. He also meets up with a mysterious blonde (Rossana Rory.)and Gia Scala (From Guns of Navarone). Sherwood struggles to untangle the web and clear his name. Despite the premise, location and likeable cast, the film is only just watchable. Flynn is worth seeing in one of his later roles, with Black and White allowing Flynn's hardening features a creditable rugged handsomeness.