[Originally published in Movietone News 42, July 1975]
They were smart to change the title from The Ten–Second Jailbreak. Even though Charles Bronson says he’s going to set his ‘copter down in the prisonyard for only ten seconds, we don’t dwell on that. If there were a title to remind us, though, we might irritably observe that minutes seem to pass by—and it’s not from suspense or Odessa-steps montage while those prison guards stare on with whuddafuck expressions on their mugs, deciding to open fire only after the whirlybird has all but made its belated exit. It must be well known to everyone who passed near a TV set during Breakout‘s opening week of summer business that this nice man who looks just like Robert Duvall has been tossed into a Mexican slammer on a trumped-up charge, and left to rot there by his business enemies, who happen to include Uncle John Huston, confirmed now in the nasty habits he picked up in Chinatown. Faithful wife Jill Ireland (who is also the faithful wife of Charles Bronson, and hence keeps working in her husband’s pictures) hires baling-wire airman Bronson to get him out somehow. Breakout isn’t nearly the offense against decency, not to mention narrative intelligence, that last summer’s saturation-promo action flick was—Dirty Mary Crazy Larry, if you’d forgot, and if you had, excuse me for bringing it up again. But Tom Gries, for whom many of us once had hopes, has unwisely decided to play most of this film as comedy, without knowing how; and if somebody says that that’s all the plot sounds worthy of, I have to point out that comedy doesn’t just happen automatically when melodrama trips over its absurdities—not comedy consistent enough to carry a whole movie. The actors are noticeably stranded by Gries’s decision and only Sheree North comes near wresting an integral characterization out of the mélange.