james_halligan-07005 I read the other 17 reviews and was thankful that someone noticed that Eric Sykes was in the movie. It is massively disappointing to read reviews by people who have no inkling about the quality of the cast as well as pathos and irony ...if you had seen Sykes in The Plank you might have some idea of his talent. Though I must admit that Brit humour is often beyond some of our contributors. In his autobiography Eric said that Tony Curtis was the biggest plonker he met in Hollywood and that got my attention (The Great Race).He certainly got my attention again in this movie. I do like Rod Taylor and was taken aback by how well he underplayed this role and of course a cinema legend like Trevor Howard sending himself up was an utter joy . Please watch some of their movies (Clouded Yellow for Trevor) and maybe (No-one Runs for Ever for a rustic Rod)you will see much more in this comedy.

Uriah43 While in Paris during World War 2 a bumbling American sergeant by the name of "Boysie Oakes" (Rod Taylor) saves a British secret agent named "Mostyn" (Trevor Howard) by accidentally killing his two attackers. Several years later Mostyn has moved up in his intelligence career and is confronted by several embarrassing intelligence leaks within his agency. So his boss formulates a plan to stop these leaks by killing the suspected spies working in their midst. Since they need an assassin Mostyn immediately thinks of Boysie. Anyway, they hire him unaware that he is not the cold-hearted killer they think he is and give him orders to kill. Now, rather than going over the whole plot and risk ruining the movie for those who haven't seen it I will just say that this was an interesting movie from that time period. Admittedly, it starts off a bit slow but it does pick up a bit after that with Jill St. John (as "Iris") providing some good scenery along the way. Unfortunately, there isn't much humor, action or suspense to really get excited about so essentially she is about the only thing that keeps this film going. As such I rate the movie as pretty much average.

Robert J. Maxwell Rod Taylor is always a likable actor, with his curled-up ears, big rolling eyes, and cocky demeanor. Like Cary Grant or Sean Connery, he's a little hard to take seriously. And there's a good supporting cast in this spy spoof as well -- Wilfred Hyde-White, Trevor Howard, David Tomlinson, the succulent Jill St. John.Taylor is recruited as a temporary James Bond figure, so outside the usual frame of spyhood that he must be trained from the start. Certainly no one would suspect him of anything except hustling young ladies.There's an amusing scene at the climax with a terrified Taylor all alone at the controls of a British bomber, knowing nothing of flying, and being talked down by a droll Richard Wattis. It was all directed by Jack Cardiff too.Yet it fails. Maybe it seemed still fresh in 1964. But there have been so MANY send ups of James Bond since the early 60s, and after all, with Sean Connery as the central figure, the series was bound to be a spoof of itself. Some of the imitations were relatively earnest and were entertaining in themselves, like Charles Vine in "The Second Best Secret Agent In The Whole Wide World." But then there was an argosy of others like "Our Man Flint." By 1967, the genre seemed to have run its course and the green-lighters gave up and came out with the frankly absurd and sometimes hilarious "Casino Royale," with a dozen different Bonds. The original franchise continues to gasp and lurch unsteadily forward, a marathon runner out of steam, refreshed by the occasional draught of viewers too young and too incurious to know they're watching the spectacle of a living corpse.I like Rod Taylor, but this just isn't worth it.

Bogmeister MASTER PLAN: Assassinations. More assassinations. There was only one Liquidator film, unlike the duo of 'Flint' films and the Matt Helm film series, but it preceded both of them in jumping on the super spy spoof trend of the sixties - a trend instigated by none other than James Bond. This one even has the familiar teaser, a quirky origin skit for the hero, followed by a bombastic song over the titles which is quite evocative of the standard Bond style - and well it should be, for the song is belted out by Shirley Bassey, she who did sing the famous "Goldfinger" song. The plot sort of re-imagines the way Bond might have started in the spy/license-to-kill business: the title character (Taylor) sort of stumbles into the killing trade at the end of the war (the Big One, in Paris), making a long-lasting impression on his future boss (Howard). Despite this supervisor's long experience in espionage, reading people and so on, his assessment of the soldier, womanizing Boysie, is completely off-base. He's convinced that the man is a killing machine when, in fact, the soon-to-be code-named L hates even the thought of killing anyone. The whole thing's a more direct satirical jab at the secret agent genre than the later spoofs because the central 'hero' is a total fraud, unlike, say, Matt Helm, who may indulge in too much booze, but can still kill effectively and even effortlessly. Unfortunately for the relatively harmless Boysie/soon-to-be-known-as-L, the head of British Intelligence, years later, abruptly decides on a new policy: dispense with the standard bureaucracy and simply eliminate enemies of the state (Queen & Country) behind-the-scenes, without the usual rules. Such a new radical procedure needs the skills of a particular individual, someone in the blunt instrument/James Bond-mold. They couldn't have selected a more inappropriate fellow. Now, the actor Rod Taylor is actually better suited for straight action roles; he comes across as genuinely rough-&-tumble and I remember him from quite a few effective tough-guy roles in the sixties. Even here, though he's a nice, inoffensive guy, he can still beat up bad guys if he has to. But, he also projects a likable if slightly-dopey persona and you find yourself buying into this clumsy, somewhat goofy character he creates here. After the groundwork is laid out, as far the hero's new digs and requisite, if brief, training, the story really diverts into outrageous territory when the supposedly lethal L gets the idea to subcontract his assignments to a real assassin (who doesn't look nearly as heroic). Though this may be a sly commentary on the overly-involved nature of shadow operations in government, the story also slows down to a crawl, with much of the focus on L's attempts to make time with his boss's secretary (Jill St.John). Things pick up when the new couple go away to Monte Carlo for R&R and still get involved in spy intrigue. There's an amusing sequence after L is captured & locked up, and then the villains are forced to let him escape, but one of the henchmen isn't in on this change of plan. The comedy is also gallows in nature, pretty dark, since intense espionage usually involves death. The climactic action also features a revelation about who a criminal mastermind really is, though the finale also lacks any grand set-pieces, further diverting from the expected over-the-top fantastic endings of such thrillers. I admit I was disappointed when I saw this many years ago, probably because it was such a sharp deviation from an expected formula, but this film has grown on me and I thoroughly enjoy much of it now, mostly Taylor's and Howard's performances, as well as Tomlinson as a sneaky villain. Hero:8 Villain:7 Femme Fatales:6 Henchmen:7 Fights:6 Stunts/Chases:6 Gadgets:4 Auto:6 Locations:6 Pace:6 overall:6+