Crime caper with a buddy act thrown in. It's an Italian production and so the foreign cast members are dubbed, though Roger Moore speaks fluent Italian as and when required. Moore plays an English-Sicilian lawyer, nephew of a Sicilian crime family head who now operates out of San Francisco. Moore teams up with Friscan wiseguy Stacey Keach as they track down some drug smugglers who've cross the line, coming into conflict with a wider criminal underworld. There are impressive car chase sequences and shoot-outs, but the double act never really goes up the gears despite good screen chemistry. Moore comes over a bit stilted while Keach is the funnier of the two. Although scripted by the Academy Award winning screenwriter of The French Connection the film suffers from poor editing and some shoddy camerawork at times. The film might have some interest value for viewers who have a curiosity for a story that is hard to fathom.

This film is one of the hardest Roger Moore films to track down, other than the almost forgotten Sunday Lovers. The version I saw was entitled The Executors and ran for 100 minutes, and as far as I'm aware it is the most complete edition of the film in circulation. Other editions include Sicilian Cross, Gli Esecutori and Street People. Under any title it is not a good film..... in fact, it is one of the worst examples of Italian profiteering movie making.The film is similar to The French Connection. It deals with drug peddlars in San Francisco. In order to smuggle their latest consignment in the US, they have used a wooden crucifix sent as a gift to the Californian fishermen from the island of Sicily. This enrages the local godfather, who sends his nephew Moore to catch the culprits. Moore enlists the aid of his hard-driving buddy Stacy Keach and eventually tracks down the villains, but the truth affects him more personally and emotively than he could have foreseen.The film is full of under developed moments. There's a great opportunity for a classic car chase, but the sequence is badly editted and makes little sense. The final showdown could have packed a real wallop, but it fizzles out without generating anything of note. The best scene involves Keach wrecking a car, but even then it isn't a great scene... merely a mediocre scene in a movie full of bad scenes.Moore gives an OK performance and Keach is pretty good in his usual casual way. The foreign actors are embarrassingly dubbed and look foolish as a result. All in all, this film is for Roger Moore completists only,as anybody else will certainly find it a hard slog.

Roger Moore and Stacey Keach star in this Italian-American co-production, and try to be the Martin and Lewis of 70's crime exploitation cinema. The rigor mortis of Roger Moore was never more noticeable as it is here, playing the straight man next to the Keach's easygoing rouge. It's a rather stale exploitation film, with the typical one liners, car chases, shoot outs, and gratuitously bad dubbing of the Italian actors. The film does have one great highlight when Keach takes a gangster's car for a test drive, and in hair-raising fashion, wrecks it through the streets of San Francisco. Unfortunately, it all doesn't work- the comedy isn't funny enough, neither Keach or Moore are particularly convincing (especially Moore, who is as dry as a desert), the violence and stuntwork is middling, the story isn't very engaging, and the ending is painfully banal. There may be just enough `so bad it's good' work that 70's exploitation fans may be entertained, but no one would call it great.Just to give an idea what you're in for- in the finale, Keach (as Charlie) hides some dope in cans of powdered milk, stashed in the trunk of his car. Moore, to keep him out of trouble, pushes the car over a cliff and says, `It was only powdered milk, wasn't it Charlie? And, what's the use of crying over powdered milk?' You may now groan if you aren't already.

Aside from the novelty of seeing Roger Moore (as a half-Sicilian!) and Stacy Keach, there really isn't much of interest here. It's mostly people talking - all dubbed. Even Moore and Keach are dubbed! (Using their own voices, which leads to a weird effect) There are a few not-bad chase sequences, but there's a sloppiness to them, as there is to the entire production; this movie really screams, "Italians made this." Bobbing cameras, slightly blurred photography, uses of a zoom lens is more than enough evidence for that. Only for people into Italian cinema of this genre.