Linbeymusol Wonderful character development!

Titreenp SERIOUSLY. This is what the crap Hollywood still puts out?

WillSushyMedia This movie was so-so. It had it's moments, but wasn't the greatest.

Sienna-Rose Mclaughlin The movie really just wants to entertain people.

Wizard-8 The idea behind "Never Let Go" is a sound one, even though its core idea may have been somewhat inspired by the classic Italian movie "Bicycle Thieves". And in the end, the movie isn't a BAD one. It's pretty well produced on what wasn't a Hollywood budget, for one thing. And it interests you enough to make you watch to the end to see what will happen. Still, there are a couple of big problems that hold the movie back from greatness. The movie starts off well, but as the protagonist continues his search for his stolen car and increases the intensity of his investigation, sympathy for him is severely worn down. People get hurt by his obsession, for one thing. Then there is Peter Sellers' performance. This wasn't the only completely straight role Sellers had during his career, but this one suggests why he didn't go for that many more straight roles. He's okay when his character is calm, but when his character gets angry or aggressive, he puts in too much of an effort and becomes kind of a cartoon. Still, fans of Sellers may find the movie of interest to see their idol try something much different.

moonspinner55 Director John Guillermin and producer Peter de Sarigny concocted this rather thin story about a married family man (and rising cosmetics executive!) in a rough British neighborhood who has his car stolen one night by a ring of young turks; the hooligans are working for a dapper racketeer (Peter Sellers, talking through clinched teeth)--and when the obsessed businessman gets the police involved, the snarling crime boss vows to take him down. Woebegone melodramatic vehicle for the miscast Sellers, who never quite figures out how to get into this (admittedly impossible) character. Richard Todd does well as the protagonist, though his home-life scenes with spouse Elizabeth Sellars are pure cliché (she tells him at one point, "If you walk out that door, I won't be here when you get back!"). Not especially well-made, with a laughable editing technique to cue us in to whom the characters are thinking about (featuring close-ups of Peter Sellers turning around slowly, as if someone is creeping up behind him). The film does pin down a certain time and place in 1960s England, but the script--with its slow-acting police inspectors--is irritating rather than intriguing. *1/2 from ****

funkyfry This is a nice little picture, kind of a commentary on crime, which features Richard Todd as a perfume salesman who doesn't take kindly to having his new Impalia stolen by a gang lead by Peter Sellers. Although there may be elements of dark comedy, this is basically a straightforward crime drama and all the principals are very effective, particularly Sellers.You could basically see this film as a modern urban variation on "High Noon." The police and the man's wife eventually decide that going after Sellers is far too dangerous, but as the title implies this man will just not let go of his precious car. He goes so far as to bring danger down upon his own household, when Sellers tracks him there and pushes his wife around. Finally he has to have a man-to-man showdown with the villainous Sellers, and the men beat each other nearly to death.I've never really seen Sellers quite as evil as he was in this film. He pushes women around, he robs from innocent people with no remorse, and he brutally punishes his underlings when they disappoint him. He attacks the role with great relish, like a man who enjoys doing bad things. This was Sellers' least mannered performance to date, among the films I have seen. In contrast to some of his later films where his excellent performances stand out like a sore thumb compared to the rest of the film, this one serves the story and the film before all else.It's an interesting comment on materialism in our society, although I don't know if it plays out today exactly as it was intended. I found myself becoming quite aggravated with the good guy and wishing that Sellers could get away with it, because I was almost as infuriated with him as the bad guy. There's also a juvenile delinquent couple that just seems thrown in to give the story "modern relevance." But all in all this is a very memorable movie and I'm surprised that it's not discussed more often.

jakegot86d The thing about a movie like this is it some how tricks you into thinking it's better than it actually is. not to say that it's bad, because it's not. it's just not that good either. The lead is weak to say the least and even though they did an all right job of making peter sellers look tough i spent most of his screen time wondering where his gun was and why he didn't just use it to shoot people. the one thing he does do in this movie astoundingly well is represent that slow hate for his little hood rat hoochie who's secretly dating one of his underlings. i wonder if sellers wasn't just translating emotion from his own failed relationships. tommy tires is cool and is the one character that makes you think this movie might be worth a remake. not because the actor made such a good turn but because he really was terrible and a person can see room for improvement there (which should be the measuring stick of any remake). all and all a sellers flick that stayed under the radar for good reason but you could still do worse so if you catch it on a Sunday just be glad it's not a football movie about redemption.