ada the leading man is my tpye

Helllins It is both painfully honest and laugh-out-loud funny at the same time.

Stephanie There is, somehow, an interesting story here, as well as some good acting. There are also some good scenes

Edwin The storyline feels a little thin and moth-eaten in parts but this sequel is plenty of fun.

johnnyboyz The Hot Rock is Peter Yates' goofy, likable crime comedy about some goofy, likable crooks – all of them, in that small gang they forge, going through their own respective Hell in trying apprehend a diamond they've been employed to steal. The film works because of Yates' ability to keep things moving at the tremendous pace that he does, the film effectively a series of causality driven set pieces leading from one to the other as these guys try to come into possession of the Macguffin, of which each are as funny and as involving and as creative enough to make the film worth one's while. The text began life as a straight up heist novel; a leaner, meaner piece as penned by Donald Westlake sometime in the late 1960s to add to his already increasing canon of Parker (later Walker, then Porter, under various filmic guises) books that had been published. Yates plays it as a straight up caper comedy, without any slow; gradual; misplaced realisation that it's going to get nastier as things progress - it is very much the sort of film in which the lead crook is robbed of his watch, at knife-point, outside of a police station and in a very specific way that just makes it quite funny without necessarily being overly nasty.That lead crook is a certain John Dortmunder, played by Robert Redford in a role that predates The Sting by about a year; a man out on the streets after yet another prison stretch who is eyed within minutes of his release by his equally criminally minded brother-in-law Andy Kelp (Segal). The two men share an odd relationship; Kelp is this pink shirt wearing, rather highly-pitched voiced man whom takes a slap in the face from Dortmunder but humorously chases him down anyway via his car and pins him into a location so as to speak to him. Kelp is bringing Dortmunder into an operation organised by an African United Nations representative named Amusa (Gunn), a man who wants them to steal that of a diamond; the titular hot rock; a diamond which belonged to his forefathers but was stolen from them and that has since been thrust up into the air in terms of ownership, shifting possession from tribe to tribe and colonial master to colonial master like a free addition of a daily newspaper on a mainline. Presently, the diamond is there for the taking whilst inside of an exhibition at a New York museum.Amusa, despite being the man of distinction that he is, rejects the more modern; more regimented notions of paperwork and the courts to decide who's "tribe" or "side" the rightful owner of this jewel is, and has turned to a more old fashioned labour of theft and crime to take what he wants. Brought in, after Dortmunder reluctantly accepts the proposal, is a demolitions expert named Greenberg (Sand) and that of Murch (Leibman), a petrol-head if ever there was one, whose base of operation is right beside that of a highway featuring numerous lanes in each direction and whose recordings of car engines filling the room of his garage plays to him like beautiful music would to us. Schemes are cooked up and plans go awry; we marvel at the manner in which these people, clearly gifted in that art of thinking and deducing if it means swiping something that isn't theirs, concoct such audacious ideas, that come across as fail-proof before being put into action, only to unravel at their very seams in what is writing that takes time to build an idea before gleefully knocking back down again with escalated creativity.The film has a distinct charm to its proceedings, whether it's because of the fact we're asked to assume that a bunch of security guards can be fooled into thinking the bandits are trapped the other side of a door marked 'exit', or something else, remains somewhat elusive. The allure is in the processes the four leads go through; the wit and interplay they share between them, but always the creativity behind the concocting of audacious stunts to try and swing the tide back to their favour. Where immense pleasure is derived from the creativity therein of the writing of these people and their ideas they cook up, there is that masochistic ring to proceedings when it becomes prominent those in charge of such stamps of creativity are taking more pleasure in laying out the proverbial trail of elastic to trip these guys up than they are enjoying them get away with an ingenious idea. Never do we feel that these people are of the really hardened criminally minded sort, a notion the film plays with when, during one instance, the guys must act as exactly this in order to fool someone into thinking their life's in danger; the scene is played with a blind goofiness that keeps everything in check, these people are consistent to their behaviour and Yates to the tone of the film, but the piece is about a group of men going through some thoroughly inconsistent times, and our pleasures derived from watching them react to that is the point.

screenman Starring Robert Redford in his prime, this movie is one of several from the period that are nowhere near as smart of as slick as they pretend.As a comedy drama/crime caper it strolls along with an air of smug satisfaction than often seems to drag. It's a very dated, 1970's piece. The dialogue is pretentious. Some of the heists and foul-ups are just too contrived. Comparing it with the 'The Italian Job' of 3 years earlier, really highlights its short-comings in characterisation.There is no stand-out event to raise this movie beyond the very ordinary. I mostly remember it for the bizarre 'Afghanistan banana-stand' exclamation, which sounds like something Mary Poppins might have uttered.There's a typically overblown jazz theme and incidental music that tries to endorse its hip pretensions but only leaves it sounding like so many others. Check-out 'Pelham 123' to see how it should be done.It's the only Redford movie that I can't recommend. But every actor makes at least one lemon in his lifetime.

The_Void The Hot Rock might not be the pinnacle of cinematic greatness, but it's a well made and funny little crime caper, and I'm sure anyone with a mind to see it will enjoy it! The film is clearly not meant to be deep or thought provoking in any sense and was obviously made just for entertainment, and in that respect it succeeds admirably. The film is best described as a heist movie and only really has one original idea; that being the fact that the thing the criminals are stealing in this movie evades them constantly, leading to the planning of several heists. There's not really an idea other than that in the film, but it's stretched out nicely across a few well worked heists. Our main character is a man named Dortmunder. He's fresh out of jail and already being approached by an old contact wanting him to help pull another job. The job in question involves a team put together by Dortmunder stealing a huge diamond from a museum. After putting a plan together and pulling it off, they end losing the diamond and have to steal it again...and again and again.As you would expect considering the plot, the film doesn't take itself completely seriously and the plot is played out by a number of entertaining characters and in good humour. The film is not as stylish as some other crime films and the focus is put more on the execution of the numerous heists rather than the style of the film. The heists themselves get sillier as the film goes along; eventually building into a highly unlikely way of stealing a diamond. The film benefits from a strong cast, headed by the charismatic Robert Redford, who manages to lead the film effectively despite running on autopilot for most of it. Redford gets good support from the likes of George Segal and Paul Sand, but it's Zero Mostel who really steals the show as the unlikely villain of the piece. The plot moves along at a steady pace and the film fits it's one hundred minute running time very well in that it doesn't ever become boring, Even though certain parts of the film are hard to take seriously, it's easy to just sit back and enjoy it; and overall, if you're looking for an entertaining way to spend some time; you could do a lot worse than this.

JoeKarlosi I like Robert Redford and George Segal, but this was only a thoroughly average heist film where the two men get together with a couple of other guys and are paid in the neighborhood of $100,000 to steal a diamond from a museum. They manage to pull it off rather easily, but then other complications abound including Zero Mostel as a sneaky lawyer. This is too long and not terribly interesting throughout, though Redford and Segal are okay as the leads. I enjoyed some of the New York photography more than anything else here. Sadly, we also see the World Trade Center in its early stages of being built. ** out of ****